Araujo Group Cinemas Cinemes Full HD UCI Italy Install Immersive 3D Sound Systems

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Wed, 03/28/2012 - 20:00 -- Nick Dager

Marcos Araujo general manager at Araujo Group Cinemas says The public who visits our actual Immersive 3D sound theaters always come back. Choosing between a 2D or 3D movie is irrelevant when imm sound is involved. The viewers prefer to get immersed in an amazing sound experience that lets them be part of the movie.” That is why we are so satisfied. We will upgrade our actual theaters to add that amazing experience and we will definitely count with Imm sound's technology in our future projects ” says Araujo. Imm sound technology brings the viewer into the new era in three-dimensional sound and provides a welcome completely new immersive movie experience. Pere Sallent CEO at Cinemes Full HD says Imm Sound had a so enthusiastic response from our viewers that we had to increase the number of Imm Sound installed rooms in our cinema. This year we are opening one more room with Imm Sound's technology and we are planning more for the near future. It is clear that viewers who have watched a movie with that immersive 3D sound cannot renounce to the impressive sensation it generates. The grandiosity of Imm sound's technology makes a huge difference that the public greatly appreciates. The sensational response of our clients shows us every day that we were right to choose Imm sound for our cinemas. Sonia Fois UCI Italy marketing manager says With Immersive 3D Sound spectators rediscover the experience of watching a movie thanks to a more spectacular surrounding and natural sound. The tones and sensations imm sound technology provides immerses the spectator and makes them part of the scene itself. She adds Imm Sound is the reference in new era of cinema sound with technology that is considerably ahead of the other market options. For every system installation Imm Sound offers the best quality support which has been verified by many international deployments.” Immersive 3D sound is fast becoming the standard in cinemas worldwide. Cinemas are upgrading their sounds systems to immersive 3D sound and imm sound is by far the best possible option on the market says Thomas Schülke UCI Kinowelt marketing manager. ,3189
Indomina Group Acquires The Imposter,2012-03-29, The Indomina Group has acquired North American Rights to The Imposter from A&E IndieFilms. Bart Layton’s directorial debut premiered to great critical acclaim at the 2012 Sundance Film Festival and at the SXSW festival. Indomina is planning a theatrical release in 2012.
  The Imposter was produced by Dimitri Doganis and executive produced by John Battsek (The Tillman Story One Day in September) Academy-Award-winner Simon Chinn (Project Nim Man on Wire) A&E IndieFilms’ Bob DeBitetto (The Tillman Story The September Issue) and Molly Thompson (Client 9: The Rise and Fall of Eliot Spitzer Jesus Camp) and Katherine Butler (Tyrannosaur Kill List) of Film4 and Tabitha Jackson (Cave of Forgotten Dreams) of Channel 4.   Layton’s documentary is an A&E IndieFilms Film4 and Channel 4 presentation of a RAW Production in association with Red Box Films and Passion Pictures.  A+E Networks retains the television rights to the film.
  “Few documentaries are able to draw you in and keep you captivated in the way that The Imposter does ” says Indomina Group vice chairman and CEO Jasbinder Singh Mann. “This is a unique and highly engaging story that unfolds superbly on the screen. We’re excited to have it on our release slate.”

Says Layton “It’s very exciting that Indomina has come on board The Imposter.  We have been particularly impressed by their passion for the film and their commitment to bringing our movie to North American audiences.” 
  “We are thrilled to partner with Indomina to bring The Imposter to theaters ” says Bob DeBitetto president and general manager of A&E Network and BIO Channel. “The Imposter is documentary filmmaking at its best combining a riveting true story with elements of film noir and we look forward to sharing it with audiences.”

 The Imposter is a chilling factual thriller that chronicles the story of a 13-year-old boy who disappears without a trace from San Antonio Texas in 1994.  Three and a half years later he is found alive thousands of miles away in a village in southern Spain with a story of kidnapping and torture. His family is overjoyed to bring him home. But all is not quite as it seems. The boy bears many of the same distinguishing marks he always had but why does he now have a strange accent? Why does he look so different? Any why doesn’t the family seem to notice these glaring inconsistencies? It’s only when an investigator starts asking questions that this strange tale takes an even stranger turn.
  Josh Braun at Submarine Entertainment and CAA brokered the deal on behalf of the filmmakers. Indomina's vice president of acquisitions Rob Williams negotiated the deal for Indomina. ,3190
Minimizing Insurance Risks for Production Companies,2012-03-29,Rental and staging companies as well as tour sound and satellite uplink companies now face an imminent insurance risk that could potentially cost them hundreds of thousands of dollars in penalties. As federal and states governments’ budgets continue to shrink they are becoming increasingly eager to find additional sources of tax revenue — and maximizing the effectiveness of current tax regulations is one way to achieve this objective. According to Take1 Insurance executive vice president and program director Scott Carroll “Rental and staging tour sound and satellite uplink owner/operators have always relied heavily on 1099 independent contract workers. But by all reasonable IRS and Department of Labor definitions the vast majority of today’s 1099 workers do not meet the requirements that determine who qualifies as an independent contractor. Now a growing number of states along with the IRS and the DOL are taking a hard look at companies who utilize the 1099 tax form for their employees specifically to determine how 1099 workers are utilized and instructed versus how they are classified on tax forms. “In California for example as of January 1 2012 when the California Department of Labor determines that a 1099 was misclassified the employer can be slapped with a fine ranging anywhere from $5 000 to $15 000 and all the way up to $25 000 if it is determined that the misclassification was intentional and used to avoid liability for workers compensation payments.” Indeed the time has now arrived when companies that may be affected are going to have to do what companies in the film and TV production industry have already done—begin classifying workers as “temporary employees” rather than 1099 independent contract workers. This change is going to increase the cost of doing business for the affected companies as the more comprehensive regulations being deployed will create new tax obligations for the companies.  However companies who think they can get away with improper filings and do not ensure all employees areclassified correctly will face the possibility of paying major fines in addition to being held responsible for the unpaid taxes. How does a company owner find out if they should file a worker as a 1099 Independent Contractor or as a Temporary Employee?  To start employers can ask the IRS to make a determination on whether a specific individual is an independent contractor or an employee by filing form SS-8 Determination of Workers Status for Purposed of Federal Employment Taxes and Income Tax Withholding with the IRS. “Basically it comes down to a couple criteria they use to determine the accurate tax status of an employee and it is addressed on a case-by-case basis ” Carroll says. “To start if the business owner has the right to directly control how the work is done through instructions training or other means the workers are most likely Temporary Employees.  If however the owner can direct or control only the final result of the work and not the means or methods of accomplishing the result the workers are probably Independent Contractors.  Additional factors include whether the business has a right to direct or control the financial and business aspects of the worker’s job and how the workers and the business owner perceive their relationship.” U.S. Risk’s entertainment arm Take1 Insurance which has specialized in insuring the live and non-live entertainment industries for more than 25 years is studying this issue on behalf of its thousands of insured who utilize 1099 workers in an effort toprovide them with guidance and help them adapt to the changing regulations.  The company has connected with the premier payroll services provider CAPS Payroll Services to begin working on a turnkey solution to help rental andstaging company owners protect against long-term liability while minimizing the inevitable increase to their cost of doing business. Carroll says “With this increase in tax law enforcement across the country the implications for rental and staging business owners are astounding.  Owners who may not even know they are at risk of exposure to fines and additional tax burdens could find themselves owing up to hundreds of thousands of dollars to the state or the IRS and that is surely enough to disrupt or bankrupt a company. Because of this Take1 is working with CAPS Payroll Services to develop a turnkey solution that will help our clients ensure they meet the proper tax guidelines and avoid hefty government penalties. “Normally an employer would be responsible for their employees insurance claims if they are injured on the job and receive workers’ compensation.  This could cost the owner a large sum through higher insurance premiums or put the policy at risk ” he says. “The payroll services we provide greatly lighten the company owner’s liability load by taking over IRS and compliance responsibility as the workers’ Employer of Record and by handling the workers’ compensation responsibilities.  This effectively isolates the temporary and independent workers from the staff labor.  So if there is an injury among the temporary or independent workers the insurance claim is spread over $1 billion worth of payroll whereas the production company could be affected negatively if the workers’ compensation claim was handled under their own insurance resulting in higher premiums or a policy cancellation.” Payroll services aren’t free and using one will likely cause labor costs to rise but the decision to utilize a payroll service is the smart choice in light of the enormous exposure a company could face if they are audited by the IRS.  Owners can do one of two things: Operate according to the new changing regulations and comply with the tax classification requirements in order to steer clear of any problems orthey can skirt the issue and wait for the taxman to inevitably come calling.  By converting independent contractors to temporary employees companies can eliminate long-term liability while lowering short-term liability costs. The film and television production industries rely heavily on temporary labor and therefore utilize payroll services extensively.  That way they protect themselves from unforeseen costs and tax burdens and avoid blemishing their own insurance policies at the same time.   For tour sound satellite uplink and rental and staging companies who want to be successful and experience growth in 2012 and beyond these tax exposures need to be addressed and using a payroll service provider is the easiest most surefire way to guarantee everything is being done by the books and the company is free of risk. ,3192
Jackson Hole Film Festival Announces Science Media Awards,2012-03-29,Science plays a profound role in our daily lives in ways that we can scarcely imagine from the infinitesimal to the infinite. This year to recognize media that best depicts the wonders of science to a broad audience the organizers of the Jackson Hole Film Festival have announced the inaugural Jackson Hole Science Media Awards. Encouraging the development of compelling media that best translate the complexities of science to the public the Awards will provide a forum to connect influential media professionals with leading scientists from around the world  and showcase finalists and award winners at the 2012 Symposium as well as other public and industry events. With 17 award categories for competition as well as Best of Festival and Special Jury awards eligible programs may be of any length may originate in any format (including animation) and be produced for theatrical television broadcast Internet institutional or public media distribution. Submissions must have been completed between June 1 2010 and May 31 2012 but need not have been broadcast or publicly exhibited. The deadline for submission is June 1. All submissions will be uploaded electronically to a secure and protected website to keep the competition as environmentally friendly as possible and ensure the broadest participation of international jurors during the preliminary judging phase. To nominate a preliminary judge contact [email protected]. Content Categories Earth & Environmental Sciences (Including Geology Paleontology Energy Oceanography Weather and Climate) Life Sciences (Including Biology Bio-diversity Ecology Genetics and Genetic Engineering) Medical Sciences (Including Clinical Science Epidemiology Pharmacology and Stem Cell Research) Physical Sciences (Including Astronomy Cosmology Physics Chemistry and Nanotechnology) Human & Social Sciences (Including Psychology Anthropology Sociology Forensic Science Social Culture and History) Technological Sciences (Including Robotics Computer & IT Artificial Intelligence Mechanical and Systems Engineering) Program Categories Incorporation of Science in a Dramatic or Theatrical Program Best Series or Limited Series Best Short Program Best Short Program Best Immersive Cinema (3D Fulldome Large Format) Best Institutional Media Installation Interactive and New Media Best Nonprofessionally Produced Program Craft Categories Best Writing Best Editing Best Visualization (Cinematography & CGI) Best Host or Presenter ,3193
Light Illusion Adds Probe Interface to LightSpace Color Management System,2012-03-29, Light Illusion has added a new probe interface to its color management system LightSpace CMS.

The latest probes to be added to LightSpace CMS are the Jeti Specbos 1201/1211 Reference Spectroradiometers which are true reference color analyzers capable of accurately measuring the luminance and chromaticity of display products as diverse as plasma CRT LCD LED and OLED monitors as well as digital projection screens.

 The Jeti Specbos 1201/1211 probes join an ever growing list of LightSpace CMS supported devices including the X-Rite Hubble the Klein K-10 Minolta CS-200 Photo Research PR-655 and X-Rite i1 range including the industry changing i1 Display Pro. “With advances in digital cinematography and digital presentation the control of color becomes ever more critical and the development of Light Illusion’s software tools and services is recognized throughout the industry as being based on real-world experience providing tools and capabilities directly applicable to industry requirements ” says Steve Shaw CEO of Light Illusion. “The continued development of LightSpace CMS provides advanced calibration capabilities to all users with full display and film profiling tools LUT conversion and manipulation as well as automatic LUT generation options for display matching and calibrated preview setup. The addition of the Jeti Specbos 1201/1211 probes adds true reference spectroradiometer capability at affordable cost.”

 The JETI Specbos 1201/1211 are broadband sensitive spectroradiometers with target laser aiming aid which are perfect for use in post-production environments. They are also ideal for match calibration set-up of cheaper filter based colorimeters such as the X-Rite Hubble for wider calibration applications in situations where a spectroradiometer is unnecessary – often location based applications. ”LightSpace CMS makes accurate colour management available to all workflows helping to enhance facilities’ calibration capabilities and accuracy ” says David Bush EU based post-production supervisor and stereographer. “I have come to rely on LightSpace CMS in the many facilities I use worldwide for color management guaranteeing the high-end control I require for all my projects – 2D and stereo 3D.” ,3194
Marquise Technologies Adds New DCI Mastering Features to Mist,2012-03-29,Marquise Technologies has added new DCI mastering features for its digital intermediates deck Mist. The DCI mastering is an option providing a tool-set of functionalities for mastering and encoding a DCP in real-time. The assembling of the elements needed for the package and their control are done naturally in the Mist Time Line giving the ability to control the process at any time. Whatever the digital source master is made of no need to pre-transcode as Mist works natively with all major formats including DPX TIFF Apple ProRes QuickTime Sony XDCam or H264 from DSLRs like Canon 5D independently of resolution or frame rate. The editing afterthoughts or modifications of the master are always possible through the management of all DCP assets (video audio subtitles) in a traditional timeline. The subtitles are fully supported with the ability to read and edit them leaving the choice of either export them in the DC package or to burn them in the image. The final encoding of the DCP is done with all precautions for ensuring the integrity of the deliverables and their internationalization through the aid of DCP's name creation tool and the support of facility code tables. Encoding is real-time in 2K and also available for 4K accelerated by a JPEG2000 encoder board. Flexibility remains with the manipulation of DCPs: the same hardware allows a real-time playback of the DCP. The versioning and repackaging of the files are managed like any other projects including the MXF Interop (or MPEG Interop) support for new standard changes. Mist allowing the export and output to any media and format the DCP support was a natural step. Mist is now the most comprehensive tool on the market from the acquisition and processing of dailies to the media conforming and finally the broadcast and DCI mastering says Laurence Stoll CEO at Marquise Technologies. The DCP encryption features and KDM management tools will be available this summer. ,3195
Moving Image Technologies Completes Cinemark's Digital Rollout ,2012-03-29,Moving Image Technologies has completed Cinemark's DCIP digital cinema deployment integrating their entire United States digital cinema rollout of more than 3 400 screens. The conversion was done in eighteen months. In addition to supplying custom bases to Cinemark MIT also performed integration services pre-configuring the servers automations switches and interface cabling for the full circuit deployment delivering and converting every single screen on time and in full. “We requested a very aggressive deployment schedule right from the start and MIT hit each and every deadline ” says Damian Wardle vice president of worldwide theatre technology and presentation at Cinemark. “We are thrilled to join with Cinemark in celebrating their outstanding accomplishment of becoming 100 percent digital ” says Tom Lipiec vice president sales and customer service for MIT. “As they continue their working worldwide expansion and conversion to digital cinema we will continue to provide our high level of integration services technical support and custom products to Cinemark.” ,3196
Nice Shoes Installs Three MTI Film Control Dailies Systems,2012-03-29,Nice Shoes New York has installed three MTI Film Control Dailies systems. The new systems will enable the facility to expand beyond its core market commercial post-production into television and film. “We've wanted to extend our successful commercial post services into the entertainment area for some time now ” says Nice Shoes CEO Dominic Pandolfino. “So moving forward with MTI’s Control Dailies provides us with the added ability to service customers in this very important space.” As part of the installation MTI Film and Nice Shoes have entered into a strategic partnership allowing for full service bicoastal dailies and finishing in a compatible environment linked by a dedicated high-speed Internet connection. “MTI’s proven Control Dailies technology coupled with our talent base will provide producers with the comfort of knowing that Nice Shoes is able to expertly finish entertainment projects in an established environment ” says Nice Shoes Robert Keske. Nice Shoes partner Chris Ryan and Keske traveled to Los Angeles to demo Control Dailies. “Their conclusion was that Control Dailies is the best and most complete solution they've seen in the space. With ten years of development it's what you'd expect Pandolfino says. “MTI Film is very pleased to have its technology introduced to the New York entertainment market through Nice Shoes ” says MTI Film CEO Larry Chernoff. “The quality of Nice Shoes’ creative and engineering staff ensures that customers will be well served.” MTI Film