Turkey’s cinema exhibition business is in impressive health right now, with more than 2,000 screens generating more than 40 million ticket sales in 2015. It’s clearly a great time for Turkish cinemagoers. With consumer confidence up, new theatres are opening at an unprecedented rate. Hungry for better entertainment experiences, customers are packing auditoriums in big-screen multiplexes and smaller boutique cinemas.
One of the highlights at this year’s Sundance Film Festival’s New Frontier Program could be the five-minute virtual reality film experience Giant. Drawing on director and co-creator Milica Zec’s personal experiences as a child in war-torn Serbia, the VR narrative takes the viewer into the experience of a family struggling to survive in a war zone. The film shows how cinematic VR lets us observe our instincts and ourselves and become more conscious of the way we make choices.
The obvious difference between sound for the big screen, the small screen, and now, the tiny screen, may not seem that different. In many ways they are not. As sound designers and editors, we want the viewer to experience every gunshot and explosion as well as every word, whether listening in a theater, at home on a TV, or earbuds on the subway. Sound for the big screen on a movie like Trumbo means you can use 5, 7 or in the case of Dolby Atmos, unlimited channels, for panning. We also have a large dynamic range because of the room size and speaker size. This, in many ways, is the easiest for those of us creating the sound tracks.
DCP stands for Digital Cinema Package. It’s the name for the collection of digital files that make up a digital movie distribution. Actually, there’s a proper name for the collection of files that make up a movie – called the Composition – but no one seems to like that name, and everyone likes the name DCP. There are two kinds of DCPs in the world, because engineers can never leave things alone. The Good DCP and the Bad DCP. When I say Bad DCP, I mean the one called Interop DCP. When I say Good DCP, I’m talking about the one called SMPTE DCP.
At the 2013 National Association of Broadcasters the founders of Archimedia were looking for what the media industry needed next. We were surprised to see a lot of poor video in the booths of the world's best manufacturers so we asked them why? We were told that it was because at a trade show, they needed players for all formats and all kinds of displays, and there wasn't one.
Editor’s Note: New York Gov. Andrew Cuomo’s office turned down an offer from the group Remote Area Medical to offer free health care to thousands of New Yorker’s the day after Thanksgiving. Filmmakers Jeff Reichert and Farihah Zaman have made a documentary about Remote Area Medical, which opens in New York on November 28. They published an open letter in response. Here is their letter:
[Editor’s Note: This article is excerpted from the Digital Cinema Society eNewsletter, July 2014, and is published with the author’s permission.]
The world is abuzz with talk of Unmanned Aerial Vehicles and in order to avoid conjuring up images of CIA missile strikes, or NSA spying, I’ll avoid using their more common name – drone. The technological and commercial promise of this mode of aviation seems boundless. Amazon talks of delivering packages this way someday soon. Someday you might order a pizza and a UAV will make a beeline navigating by GPS over traffic right to your door. But as things stand today, professional filmmakers in the United States are not allowed to use UAVs on a movie shoot.
[Editor’s Note: Robert Berger is part of the creative team that made the acclaimed independent 3D film Charlie Victor Romeo. Here, in an article written exclusively for Digital Cinema Report, he talks about the challenges of making a movie on a tight budget, in particular dealing with DCPs and the value of Archimedia Master Player.]
Few words are as overused by the cinema industry as the word immersive. We at Dolby are perhaps guiltier than most. We’ve used the term in dozens of press releases and marketing materials, most recently when describing Dolby Atmos.
The goal of this article is to educate the industry about challenges that immersive sound presents and to present my arguments as to why the National Association of Theatre Owners’ and Digital Cinema Initiative’s rushed actions have the potential to harm, rather than help, the first release motion picture industry