CFI - Cinematic Forecasting and Investment Assurance LLC ™

Investor Opportunities in Motion Picture Profits through Feature Film Box-Office Forecasts / Pre-Production Script Development / Cinematic Archetype Casting / Component Formulation Design / U.S. and Global Market Consulting & Mass Audience Forecasting

1.1 future film forecasts

1.2 last weekend forecast

1.3 - 2011 profits & loss

1.4 - 2010 profits & loss

1.5 - 2009 profits & loss

1.6 - 2008 profits & loss

1.7 - 2007 profits & loss

1.8 - 2006 profits & loss

1.9 - 2005 profits & loss

1.10 - 2004-2002 charts

1.11 - 2001-1999 charts

1.12 CFI CONTACT INFO

2.1 intro to CFI

2.2 twenty-one questions

2.3 beta-testing complete

2.4 products & services

2.5 application & benefit

2.6 comparing methodology

2.7 client applications

2.8 four screen dynamics

2.9 playability errors

2.10 quadrant solutions

2.11 forecasting accuracy

2.12 edge on competition

3.1 film components

3.2 simple components

3.3 complex components

3.4 resolution components

3.5 horrific components

3.6 the two behaviorisms

3.7 audience psychology

3.8 suspending disbeliefs

3.9 four media approach

3.10 reading their faces

3.11 observing audiences

3.12 observing emotions

4.1 archetype vs. stereo

4.2 modern archetypes

4.3 good/bad guys ID key

4.4 line by line paradigm

4.5 face mapping tools

4.6 the classic archetype

4.7 casting examples

4.8 writers and archetype

4.9 subtypes & essences

4.10 act as VS. act like

4.11 Jung archetypal map

4.12 the MBDI vs. MBTI

5.1 script consulting

5.2 assist flow chart

5.3 production benefits

5.4 database tracking

5.5 client confidential

5.6 forecast fallibility

5.7 how the others fail

5.8 weekend mentality

5.9 neuromarketing news

5.10 neuromarket article

5.11 film neuromarketing

5.12 older methodologies

6.1 old studio systems

6.2 studio system assists

6.3 agent & mgr. benefits

6.4 improvements 4 talent

6.5 attending to imagery

6.6 the best attributes

6.7 talent research

6.8 star power ratings

6.9 star client results

6.10 secret sex chemistry

6.11 archetype inventory

6.12 sub-type inventory

7.1 CFI contact info

7.2 similar companies

7.3 actor archetype lists

7.4 bibliography to study

7.5 urls continued study

7.6 ROIs for 1999 & 2000

7.7 ROIs for 2001 & 2002

7.8 ROIs for 2003 & 2004

7.9 ROIs for 2005 & 2006

7.10 ROIs for 2007 & 2008

7.11 ROIs for 2009 - 2010

7.12 ROIs for 2011 - 2012

page 2.12


The Edge on the Competition



In the entertainment business you’re up against hundreds of thousands of VERY competitive p
eople willing to do, say or sacrifice anything they can just to get ahead of you.

           And they’ll do anything it takes to gain an advantage
                               ... especially advantages you don’t know about.

You need every single opportunity, every single opening, every single possible
contingency that exists, to improve you and your production team’s chances.
 
CFI™ technology has the highest benefits at the lowest price and the greatest earnings at the  lowest cost.  That’s an advantage you can exploit and that’s an edge you can use to surpass others in the race to the show.  This is an edge that should be cultivated as soon as possible.  When you can find an advantage your competitors haven’t found yet, you can quickly overcome them in the competition.  A technology still unknown to your competitors is the ‘ultimate’ and unsurpassable edge.
 
The Motion Picture Index™ from CFI™ is an ultimate edge. It’s an exclusive process that it isn’t broadcast or advertised.  It is currently understood and incorporated by only a shrewd and select few.  Taking the opportunity to gain its benefits is critical for competing with others in the film business - especially when competing with those who may be using it already.  
 
The invaluable image qualities and capacities that CFI™ can provide your company are crucial for getting you to the front of the crowd and essential for keeping you ahead of the pack.  The benefits of this vital imaging process are immediate, accurate and far more objectively intelligent than anything ever previously available.
 
Opportunities lost by waiting to enact talent imaging make it that much harder to compete.  Letting other competitors acquire those opportunities before you do is an unnecessary risk.  Waiting to instigate a dynamic technology that others are ready to start using would just put you further behind.  
 
This is the only imaging program that offers you such a deep and extensive opportunity to succeed and excel.  No other system can increase your product control and improve product or image development as well as the CFI Motion Picture Index™ and CFI Screen Dynamics™.  
 
With this ultimate edge, charismatic screen imaging, artistic development, financial success and company identity are accelerated far beyond the frenzied crowd and exalted above the unenlightened competition.

  
  



Comparing the Average Studio Profitability Results

to Films Meeting CFI Profitability Requirements

 

To clear a profit in North America box offices, the average “gross as compared to production cost ratio” needs to be at least 183 percent.

 

 

Studios:

 

In 2005, the MPAA reported that studio produced film cost $60.0 million to make on average and only grossed $37.1 million on average in North America. 

 

The industry’s domestic box-office “gross as compared to production cost ratio” was only 62 percent for 2005.  (That’s less than half of what it needed to be to achieve domestic box-office profitability.)

 

  vs. 

Films meeting CFI profitability requirements:

 

In 2005, CFI vetted films (films that met the minimum CFI requirement for profitability) cost only $37.19 million to make on average and then went on to gross $92.77 million on average in North America.  

 

CFI vetted film’s “gross as compared to production cost ratio” was over 248 percent for 2005. 

A much higher ration than what was needed for profitability.

 

 

And based on the production data from 1999 to 2005…

CFI vetted films cost only $40.23 million to make on average, and grossed over $110.5 million on average at the North American box office (while grossing an average of over $101.2 million overseas.) 

 

From 1999 to 2005, CFI vetted films “gross as compared to production cost ratio” was 275 percent on average just in North America.

 

Bottom line…

CFI vetted films between 1999 and 2005 cost a third less to make … and grossed three times more than the average studio production in North America 2005.

 

 

Interesting CFI stats:

 

If a film has NO component formulation errors, it will profit domestically, and there is also:

 

1. a 73% chance that it will do over $100 million at the worldwide box office

 

2. a 50% chance that it will do over $200 million in worldwide gross

 

3. a 20% chance it will do over $300 million in worldwide gross.


While any film that contains formulation errors - has a 77% chance that it will fail to profit.


                           
CFI website map for 2011

1.1 FUTURE FILM Forecasts
2.1 Introduction to CFI
3.1 Unseen Components
4.1 Archetype vs. Stereo
5.1 Screenplay Consulting
6.1 Old Studio System
7.1 CFI CONTACT INFO
1.2 LAST WEEKEND Forecast
2.2 Twenty-One Questions
3.2 Simple Components
4.2 Modern Archetypes
5.2 Assist Flow Chart
6.2 Studio System Assists
7.2 Similar Companies
1.3 2011 Profit & Loss Chart
2.3 Beta-Testing Complete
3.3 Complex Components
4.3 Good/Bad Guys ID Keys
5.3 Production Benefits
6.3 Agent & Mgr. Benefits
7.3 Actor Archetype Lists
1.4 2010 Profit & Loss Chart
2.4 Products & Services
3.4 Resolution Components
4.4 Line by Line Paradigm
5.4 Database Tracking
6.4 Improvements 4 Talent
7.4 Bibliography for Study 
1.5 2009 Profit & Loss Chart
2.5 Application & Benefit
3.5 Horrific Components
4.5 Face Mapping Tools
5.5 Client Confidential
6.5 Attending to Imagery
7.5 URLs to Continue Study
1.6 2008 Profit & Loss Chart
2.6 Comparing Methodology
3.6 The Two Behaviors
4.6 The Classic Archetypes
5.6 Forecast Fallibility
6.6 The Best Attributes
7.6 ROIs for 1999 - 2000
1.7 2007 Profit & Loss Chart
2.7 Client Applications
3.7 Audience Psychology
4.7 Casting Examples
5.7 How the Others Fail
6.7 Talent Research
7.7 ROIs for 2001 - 2002
1.8 2006 Profit & Loss Chart
2.8 Four Screen Dynamics
3.8 Suspending Disbelief
4.8 Writers and Archetype
5.8 Weekend Mentality
6.8 Star Power Ratings
7.8 ROIs for 2003 - 2004
1.9 2005 Profit & Loss Chart
2.9 Playability Errors
3.9 Four Media Approach
4.9 Subtypes & Essences
5.9 Neuromarketing News
6.9 Star Client Results
7.9 ROIs for 2005 - 2006
1.10 2004 - 2002 P & L Chart
2.10 Quadrant Solutions
3.10 Reading Their Faces
4.10 Act As vs. Act Like
5.10 Neuromarket Article
6.10 Secret Sex Chemistry
7.10 ROIs for 2007 - 2008
1.11 2001 - 1999 P & L Chart
2.11 Forecasting Accuracy
3.11 Observing Audiences
4.11 Jung Archetypal Map
5.11 Film Neuromarketing
6.11 Archetype Inventory
7.11 ROIs for 2009 - 2010
1.12 CFI CONTACT INFO
2.12 Edge on Competition
3.12 Observing Emotions
4.12 The MBDI vs. MBTI
5.12 Older Methodologies
6.12 Sub-Type Inventory
7.12 Senior Analyst Bio