Good things come to those who wait, as cinematographer Remi Adefarasin, OBE BSC will testify, following his recent large format shoot with Cooke Optics S7/I full frame plus prime lens range on the period feature film Lyrebird. Imperative Entertainment’s Dan Friedkin is directing the film. Imperative is also producing alongside Ridley Scott.
Arts Alliance Media first opened its doors in London June 17, 2003. In those very early days of digital cinema, the new company and its ten employees carved out a space in technology and what was then called alternative content. The company divested itself of the alternative content business a few years ago to focus on what has long been its core strength: cinema technology. AAM launched its first theatre management system in 2007 and, in 2008, completed the first virtual print fee rollout in Europe with French chain CGR. Today AAM has more than 140 employees spread over three offices in London, Amsterdam, and Guangzhou, China. I recently spoke via email with AAM’s chief executive officer Patrick Foley, and chief technology officer Richard Phillips about those early days of the company and, more importantly, to get their thoughts about the future of digital cinema technology.
Cinemas worldwide are preparing for what is now commonly called the second wave: a technology renewal where they will install next-generation digital projection equipment. However, the journey ahead poses different considerations and challenges compared to the film-to-digital conversion of the first wave. Before we forge ahead, it’s important that we consider the old adage: To know where we’re going, we need first to know where we’ve been. So let’s take a look.
Bestar Cinemas in RuiAn, China has become the first Chinese multiplex to open an ÉclairColor high dynamic range auditorium. The Ymagis Group and Chinese cinema systems integrator Great Ocean made the announcement today.
On Wednesday CJ 4DPlex opened the first European 4DX with ScreenX theatre through a partnership with Les Cinémas Pathé Gaumont. Marvel Studios’ Ant-Man and The Wasp debuted in the 4DX with ScreenX format in Paris at the exhibitor’s Pathé Beaugrenelle multiplex.
On July 27 Tom Cruise returns for the sixth time as agent Ethan Hunt when Mission Impossible: Fallout opens in theatres around the country. And on that same opening weekend, patrons of Regal Cinemas will receive their free copies of the third installment of Moviebill, the marketing brainchild of Concourse Media principals Andrew Felts and Matthew Shreder.
Superfly is Columbia Pictures’ reimagining of Gordon Parks Jr.’s classic 1972 crime drama that defined its genre through its characters, look, sound and feel. Helmed by Director X and written by Alex Tse, the new movie transports the story of Priest (Trevor Jackson), from Harlem to modern-day Atlanta and reenergizes its vibe for a new generation. The movie’s sound team from Sony Pictures Post Production Services, led by supervising sound editor Steven Ticknor, supervising sound editor and re-recording mixer Kevin O’Connell, re-recording mixer Greg Orloff and sound designer Tony Lamberti, was tasked with bringing the sonic elements of Priest’s world to life. That included everything from building intricate soundscapes for Atlanta’s neighborhoods and glitzy nightclubs to supplying the thunderous fireworks for gun battles and car chases.
With a passion for movies that he’s had for as long as he can remember Mark Louis, director of presentation for Alamo Drafthouse Cinemas, started working in the theatre industry almost 40 years ago. When watching movies, he realized early on that the slightest imperfection in the presentation was a distraction. Even unavoidable distractions like on-screen cue marks on 35mm film prints would grab his attention. He says he found himself wondering why imperfections like those marks were present and could they be avoided. That frustration with a less than perfect presentation and a fascination with how movie magic actually worked is what lured him to the technical side of the business where he remains to this day. I recently spoke with Louis about his career in exhibition and his role at Alamo Drafthouse Cinemas.
This Thursday, in conjunction with the official grand opening of B&B Theatres’ newly-built, state-of-the-art, flagship Liberty 12 location in Liberty, Missouri – the largest ScreenX auditorium in the world will open to the public. It will be located on a screen measuring more than four stories tall and seven stories wide, with the capacity to seat 244 attendees.
[Editor’s Note: In a new white paper, Barco senior product manager Tom Bert makes a strong case for the importance of contrast ratio in cinema.] In any visualization system, the contrast ratio is one of the key parameters that define image quality. A metric for comparing the brightest whites to the darkest blacks in the image, you could say that a good contrast ratio truly adds depth to the image. A low contrast ratio makes an image look washed out. Details as well as the artistic intent get lost. This is true for direct view displays as well as for projectors.