773.275.0797 (o)
773.275.1348 (f)
312.420.5687 (c)

Or write to:
junetwenty films, inc.
1752 West Carmen Avenue
Chicago, IL 60640

Company Data:
In business as S-corporation since 1999.
FEIN: 36-4336489
Liability Insurance: Yes - $1,000,000 Policy


Production FAQs

How much will it cost?
What should I look for in a production company?
What’s the most important part of production?
BetaSP vs. DVCam/DVC Pro
How do I protect an idea?
Who should I contact?

“How much will it cost?”
The first question people have is also the most difficult to answer. Sticker shock is the number one complaint for clients unfamiliar with our industry. Production costs more than you think. A client of mine uses an analogy of buying cars. Do you want the Lexus: high performance, knock-out looks, built to impress? Do you want the Honda Accord: well-engineered, reliable, economical mid-range pricing? Do you want the Ford Escort: no frills, but it gets you from point A to point B effectively? Our budgets run from $1000 to $100,000, and everything in between. We’ve done hour-long videos that cost only $6000, and we’ve done 30-second graphics intensive spots that cost $50,000. The point is, we work with your budget, and give you a real bang for your buck.

“What should I look for in a production company?”
You should protect yourself first, and make sure your vendor carries at least a $1,000,000 liability policy. Next they should give you their FEIN, so you’ll have the option of a background check to make sure a company is financially sound, and will have the assets to complete the project. In terms of their creative and technical capabilities, listen to their customers, look at their work, and then decide how well you think they will work with your needs – that last one is entirely your judgment.

"What’s the most important part of production?"
Pre-production. Without a doubt. That means, every thing that goes into planning, writing, storyboarding, scheduling, getting everybody on the same page – crafting the message, carefully and completely, before the camera ever rolls. This was Alfred Hitchcock’s favorite part of making movies – in fact, he considered the movie finished before he walked on set. He was a bit of a control freak, among other things, but his productions always ran like clockwork – maybe like Clockwork Orange, but clockwork nonetheless.

“DVD vs. VHS”
Every year, DVDs advantages get stronger and stronger: better picture and sound quality; programmable interface; more storage capacity; smaller, less picture degradation over time. Previously, you had to worry about how many in your audience had DVD players, but that limitation is fast becoming a thing of the past. And DVD authoring and replication is finally starting to come down in price, without any loss of quality. VHS will be around for a while, no doubt, and for many audiences – and budgets -- it is still the format of choice: it’s cheaper, people “get it”, everyone’s got a VCR, etc. But if making a strong impression is worth it, DVD is the way to go.

“BetaSP vs. DVCam/DVC Pro”
To my eye, BetaSP still reproduces a better and more dynamic range of colors and exposures, and the quality of the lenses can’t be beat.. But not for long. The gap between the $70,000 BetaSP Camcorder (you’re pretty much stuck with Sony) and the tremendous range of DVCameras made by several top-shelf manufacturers is lessening every day. BetaSP will be around for a while, mainly because production companies have so much BetaSP editing equipment; but DV makes great pictures, too, and has made phenomenal inroads across the production spectrum (from features to docs to news gathering). In today’s tight budgets, DV gives you more bang for your buck. Plus, it’s sooooooo much lighter. So please, for my sake, go DV.

“How do I protect an idea?”
We’re not lawyers or copyright experts, but there are something's that may – may! – help to protect your ideas – though the entertainment industry is sometimes a thieves’ market, so we guarantee nothing.. One way is to register your written script or written idea with the Writers Guild of America for $25. You can also go to the US Copyright Office (, and find out more there about whether your idea qualifies for copyright. There are no guarantees, especially when it comes to pitching your ideas to networks or cable outlets. Many will ask you to sign waivers that basically empower them to steal your idea. So make sure you document everything – keep e-mails, notes from meetings, time and place, etc. – it may deter the idea thieves.


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