Cinemaxx Global Pasifik has selected Cielo for the digital management of the entire Cinemaxx circuit in Indonesia. Founded in 2014, Cinemaxx, part of Lippo Group, operates 45 theater complexes with 235 screens and growing across Indonesia.
PowerHouse VFX, the New York-based boutique visual effects studio, rounded out its first year in business by serving as the sole visual effects vendor on M. Night Shyamalan’s Glass. PowerHouse completed approximately 300 shots ranging from Hero CG character animation work, environmental set extensions including buildings and cars, to bringing The Beast to life in many more scenes than they had done previously in Split.
Leading event cinema distributor Abramorama has partnered with Experience Hendrix and Sony Legacy Recordings to release Jimi Hendrix: Electric Church in select theaters around the world. The film opens at the ArcLight Hollywood Cinerama Dome January 31with a special Q&A with director John McDermott, legendary record producer and engineer Eddie Kramer, and Janie Hendrix, the late artist’s sister who is the CEO of Experience Hendrix.
More than one hundred dog owners and their pets from all over Taiwan recently converged on Songshan Cultural and Creative Park for a charity premiere of the Hollywood film, A Dog’s Way Home. The film chronicles the heart-warming adventure of Bella, a dog who embarks on an epic 400-mile journey home after she is separated from her beloved human.
Qube Cinema has published a case study highlighting the deployment of Qube Wire by Tugg, a pioneer in developing the Cinema On Demand model bridging the gap between filmmakers and audiences. According to the company, Tugg has the ability to book titles into more than 85 percent of commercial movie theatre screens in the US, from the largest circuits to independent art houses. One noteworthy aspect of the Tugg platform is that it also provides access to venues that potentially wouldn’t ordinarily play a film, such as churches, museums and libraries.
Arts Alliance Media is providing their Screenwriter Theatre Management System and software support to the Sundance Film Festival for the third year running at six festival screening locations across Park City, Salt Lake City and the Sundance Mountain Resort in Utah, from January 24 to February 3.
Self-service ticket kiosks have wide acceptance in movie theatres, but Brisbane-based TouchMate saw the potential in combining the widespread use of video walls in cinema foyers with kiosk-style features. To bring the concept to market, the company joined forces with touch sensor supplier Zytronic. TouchMate director David Ellsworth said, “Our system is an evolution of the current technology. Traditionally, the cinema might spend more than $50,000 on a video wall then install eight self-service kiosks that might cost an extra $50,000-plus. If you merge the two technologies you halve the capital costs and costs of maintenance. You save space and money.”
Vieshow Cinemas Hualien Paradiso in Hualien is the first cinema complex in Taiwan to be fully equipped with RGB pure laser projection systems. Five auditoriums are powered by Christie’s 4K CP4325-RGB and 2K CP2315-RGB models.
In November, the Digital Cinema Initiative posted two new draft documents towards a high dynamic range specification for cinema titled Direct View Display D-Cinema Addendum and High Dynamic Range D-Cinema Addendum. They represent a major improvement over DCI’s previous draft, which I wrote about last September [DCI Has Lost Its Way https://bit.ly/2Omcnoa]. In contrast, the new documents are well written, detailed, explanatory and responsive. But questions remain and cost matters, leaving plenty of room for improvement.
For the space of a few hours, the Presidential Heliport Garden turned into a vast open-air movie theatre where 3,000 people were able to see Alfonso Cuarón’s Roma free of charge on a screen measuring 15 metres wide by 7 metres high with Christie RGB laser projection and Dolby 7.1 sound. The screening was organized by Mexico’s Ministry of Culture.