Featured Stories

Or, As I Like to Call It, Radio

Thu, 10/18/2018 - 11:00 -- Nick Dager

In a reverse twist on the silent movies of old, The Companions: A Lost Screenplay is a film without moving images. Or, as described in accompanying notes from the de Young Museum in San Francisco, the sound installation becomes “a type of auditory cinema that explores the vital role sound plays in shaping narrative and affective space in film.” The 20-minute work, presented in the de Young’s iconic observation floor (one of the free spaces within the museum), couples sweeping 360-degree views of the city to a soundtrack of music and sound effects as reproduced through a 24-channel system of Meyer Sound loudspeakers.

Free Solo Leads Documentary Award Nominees

Tue, 10/16/2018 - 12:50 -- Nick Dager

The Broadcast Film Critics Association and the Broadcast Television Journalists Association have announced the nominees for the third annual Critics’ Choice Documentary Awards. The winners will be presented their awards at a gala event November 10 at BRIC in Brooklyn, New York. The film Free Solo leads this year with six nominations and one honor, including Best Documentary, Jimmy Chin and Elizabeth Chai Vasarhelyi for Best Directors, Best Sports Documentary, Most Innovative Documentary, Best Cinematography, Best Editing and a Most Compelling Living Subject of a Documentary honor for Alex Honnold.

Performing Foley Live

Tue, 10/16/2018 - 12:44 -- Nick Dager

Award-winning Foley artist Leslie Bloome is performing his distinctive craft live as part of special Halloween screenings of The Unsilent Picture at Philipsburg Manor in Sleepy Hollow, New York. Bloome is using an assortment of props and tools to create live sound effects to accompany the spooky black and white film, based on a Washington Irving short story. Directed by Alex Harvey and starring Tony Award-winning actor Bill Irwin, The Unsilent Picture, which also features live musical accompaniment, screens through October 31.

Mixing a Slice of Hell

Fri, 10/12/2018 - 11:03 -- Nick Dager

Slice, currently in international release from A24, is a quirky comedy/horror tale centering on a neighborhood pizza parlor that doubles as “a gateway to hell.” For Steve Giammaria, of Sound Lounge’s Film + Television division, who acted as both supervising sound editor and re-recording mixer, Slice offered an opportunity to indulge both his sense of humor and taste for the macabre.

When Should You Upgrade Your Cinema Projector?

Tue, 10/02/2018 - 13:46 -- Jeff Kaplan

Keeping projectors and other cinema equipment up and running is a primary concern for exhibitors. If you own a Series 1 or an early Series 2 projector, you may already be facing significant cost of ownership issues, including more frequent breakdowns and longer downtimes. Even worse, manufacturers may no longer support your equipment — or may soon stop supporting it — making replacement parts expensive or even unavailable.

Dietrich Theater Neu-Ulm Upgrades Sound

Thu, 09/20/2018 - 12:25 -- Nick Dager

The demands of moviegoers are growing and with them the pressure on cinema operators to enable ever better and increasingly immersive cinema experiences. Dolby's surround sound technology Atmos is one of the most sought-after features in the cinema market, and is often integrated into a larger premium concept. Such a premium concept was realized recently by the two Munich companies ZweiB and Videocation in a joint project in the 363-seat Saal 8 of the Dietrich Theater in Neu-Ulm, Germany.

Let the Games Begin – To Move

Tue, 09/18/2018 - 12:02 -- Nick Dager

Screenvision Media has teamed up with Xbox to announce the national debut of two new cinematics that utilize immersive MX4D technology in select theatres. Xbox's advertisements will support the October 2 launch of open-world racing game Forza Horizon 4 and Xbox Game Pass, Microsoft's gaming membership. They are the first ads to utilize this technology to provide moviegoers a seat shifting, heart racing advertising experience.

DCI Has Lost Its Way

Fri, 09/14/2018 - 12:11 -- Michael Karagosian

The way it’s supposed to work, a cinema should be able to acquire DCI Compliant equipment with the assurance that first release movies would not be withheld for reason of having the wrong gear. With the recent release of its DCI Memorandum Regarding Direct View Displays, it is no longer clear where DCI is heading.

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