The winner of the IBC 2011 International Honor for Excellence is Sir David Attenborough in recognition of his remarkable career in television and in particular natural history. His career spans almost 60 years and includes his latest work the Atlantic Productions documentary Flying Monsters 3D with Sir David Attenborough one of the most acclaimed programs commissioned by Sky 3D. The International Honor for Excellence is the highest award which IBC bestows. It is presented to individuals and organizations which have taken the best technology available – and driven technology forward – to create the finest broadcasting content. Attenborough joined the BBC in 1952 and immediately found his vocation in natural history programming. He made his name in front of the camera as well as producing with the Zoo Quest expeditions in which he and a small crew set off with a 16mm camera to a remote corner of the globe intending to return with a rare animal for London Zoo and sufficient footage to create a television series. In the mid 1960s he temporarily pulled back from making programs when he was appointed the controller of the newly launched channel BBC2. Among the programs he commissioned was Monty Python's Flying Circus – about as far from natural history as it is possible to imagine. But the natural world was too big a draw and he returned to finding new ways of presenting its wonders on television. The 1979 landmark series Life on Earth and its sequence with mountain gorillas became one of the most watched programs of all time. Sir David Attenborough has been called 'the greatest broadcaster of our time' and throughout his career he has seized upon the latest developments in technology to illuminate natural history says Peter Owen chairman of the IBC Council. Working with the BBC Natural History Unit he pioneered time-lapse sequences in The Private Life of Plants and low-light and infrared cameras to capture the behavior of nocturnal mammals. Today he is working with Atlantic Productions on stunning 3D programs including Flying Monsters the first 3D program to win a BAFTA Award. Attenborough says I am greatly honored to receive this award from IBC. Throughout my career I have used the best technology available. When I started this was 16mm film which gave us lightweight cameras to take into the wild. Since then my journey has taken me from black and white to color and from film to digital high definition and today I am excited to be involved in 3D production which really immerses the viewer in the scene.” I have worked with the best people in the business including the BBC Natural History Unit and now Atlantic Productions and some extraordinarily patient and skilled cameramen and directors. Making wildlife television – whether it was Zoo Quest in the 1950s or Flying Monsters today – is hugely collaborative. I know that IBC encourages and develops collaborations between program makers and technologists which makes this award particularly special. Thank you IBC. The IBC Awards Ceremony which will include a special tribute to Attenborough and a look at the latest stereoscopic 3D wildlife programs presented by Atlantic Productions is on September 11. All visitors are invited to attend the ceremony in the RAI Auditorium. IBC www.ibc.org ,2682
International 3D Society Accepting Nominations for Technology Awards,2011-08-31,The International 3D Society is now accepting nominations for its Stereoscopic 3D Technology Awards to be held in January 2012 in Hollywood California. The Society’s 3D Technology Awards honor technological achievement in the stereoscopic medium including cinema television cellular and portable devices special venue themed attractions video games computers and other media. The Society announced today that it is accepting entries from the 3D professional community to be voted upon by a blue-ribbon 3D Technology Awards panel. For the second annual awards the International 3D Society will honor the contributions of engineers scientists and inventors whose products and technology have advanced the art of stereoscopic displays ” says Lenny Lipton co-chair of the 3D Awards Committee. “We want to single out the work that has been done in the last few years. This year marks the Society’s second annual 3D Technology Awards. The program will recognize individuals and organizations that have made a significant impact on the advancement of stereoscopic arts and technologies from January through December 2010. All entries are due by September 30. International 3D Society chair and head of production planning DreamWorks Animation Jim Mainard says “Technology development continues to be an essential component in the evolution of 3D content creation and the Society encourages those developments by recognizing those who are making a difference.” As 3D content moves from movie screens to tablets TVs phones and game consoles these awards shine the spotlight on the technologies people and organizations driving these breakthroughs with impact and innovation says Jim Chabin president of the International 3D Society. The organization is a professional community dedicated to advancing the arts and technologies of Stereoscopic 3D. The 3D Technology Awards Show will feature MasterImage3D passive glasses and technology. Rules regulations and entry forms are available online at www.international3dsociety.com. There is no entry fee for submissions. Nominees will be announced prior to the show. International 3D Society sponsors include Signature Sponsors Panasonic and Korea Telecom as well as Founding Sponsors Dolby Laboratories DreamWorks Animation IMAX MasterImage 3D Pixar The Walt Disney Studios Motion Pictures and Xpand 3D. The International 3D Society www.international3dsociety.com ,2684
IRIDAS Upgrades FrameCycler PRO,2011-08-31, IRIDAS has significantly strengthened its desktop stereo playback and review system FrameCycler PRO. With this new release FrameCycler PRO adds greater file format support for workflow flexibility including full support for Arri Alexa RAW and Red Epic and offers 12-bit Apple ProRes support compatible with Arri’s SxS card output. The new FrameCycler PRO delivers an optimized OpenEXR loader and CinemaDNG is now fully supported in real time offering significant performance gains for highly efficient playback and review in any stereo 3D production environment. FrameCycler PRO 2011 now supports Python scripting further expanding the existing FrameCycler scripting and remote control capabilities used by post facilities all over the world. Additionally with this announcement IRIDAS has made significant strides in its real time stereo 3D production capabilities with an updated stereo 3D engine based on its award-winning DualStream NX technology. FrameCycler PRO now adds real time parallax adjustment a visual reel setup window difference matte views single frame stereoscopy support and a heads-up display for 3D metadata. “Our early embrace of stereo 3D workflow technology has given our products a tremendous advantage; we’ve been working closely with the industry’s greatest filmmakers since 2003 constantly refining and enhancing our stereoscopic capabilities based on their stringent requirements ” says Lin Kayser CEO of IRIDAS. “The new FrameCycler PRO sets a new standard for stereo 3D production with a level of format support workflow enhancements and the industry’s most powerful real time stereo 3D engine under the hood that is simplifying what was once a complex time consuming and tedious workflow.”
FrameCycler PRO was recently used in the 2D-3D conversion of Transformers 3D by Legend Films in San Diego California. Deployed to over 500 desktop systems throughout Legend Films Legend artists were able to work on hundreds of stereo sequences and in real time analyze image color and quality and make sequences instantly available for review and playback. FrameCycler Pro is available immediately for $299. IRIDAS www.iridas.com ,2685
Kodak adds Philippine Lab to ImageCare Program,2011-08-31,Philippines-based SQ Film Laboratories has become the newest member of the Kodak ImageCare Program a quality assurance plan for film laboratories initiated in 1996 by Kodak and prevalent throughout 31 countries worldwide today. SQ Laboratories was recently accredited for its Camera Negative Processing operations indicating to filmmakers that critical film handling and quality standards are being maintained by the facility. With over 40 years of industry experience SQ Laboratories continues to demonstrate its commitment to film and film quality. The lab employs 30 full-time individuals including a number of highly skilled technicians and artists who comprise many decades of expertise. “The Program has developed very specific efficiencies for the laboratory staff to follow ” says Angelo Santos managing director of SQ. “These standards have built up our employee’s confidence morale and the triple ‘Is’: Intensity Integrity and Intelligence. Simply put the Kodak ImageCare Program processes are a continuous progression of learning and development for us. It is an honor for us to be included in the roster of accredited laboratories around the world.” Kodak created the Program to standardize motion picture processing; adherence is challenging and time consuming and requires a laboratory-wide commitment to succeed in being accepted. The rigorous Program identifies areas for improvement provides a manual training and consultation in conjunction with on-site visits by Kodak technicians. Certification in the Kodak ImageCare program is proof that a lab complies with the highest standards of quality so even the most-demanding filmmakers can rely on their services with confidence. “We’re delighted to welcome SQ Film Laboratories into the Kodak program ” says Diane Carroll-Yacoby worldwide manager of the Kodak ImageCare Program. “This lab has first-class film processing operations. We’re proud of their accomplishments and commitment to excellence. This membership signifies that they deliver the best of what film can offer so customers can trust that when they work with SQ they are working without compromise.” Kodak Entertainment Imaging Division www.kodak.com/go/motion SQ Laboratories http://sqfilmlab.com.ph/ ,2686
Marcus Theatres Upgrades with NEC Doremi and Cinedigm,2011-08-31,Marcus Theatres has selected NEC projectors to make a full-scale conversion to digital cinema on almost 700 screens it owns or manages across the Midwest and East. Doremi Cinema servers are also being installed. The conversion is being made possible through a virtual print fee agreement with Cinedigm. The agreement also includes deployment of NEC large-screen displays for the theater chain's lobbies and concession areas to promote food beverage and other specials as well as adhere to new FDA calorie guidelines. We've enjoyed a long history with Marcus Theatres and are grateful for the opportunity to expand our relationship to help meet the demands of 3D movies as well as the overall migration to digital cinema says Pierre Richer president and COO of NEC Display Solutions. Unlike its competitors NEC is able to offer a comprehensive solution for exhibitors from high-performing digital cinema projectors to powerful commercial-grade digital menu boards and our VUKUNET Digital Out of Home inventory management ad delivery billing and payment system - to generate new revenue streams as well as elevate the entire theater-going experience. Marcus Theatres ordered NEC's complete line of digital cinema projectors - the NC1200 NC2000 NC3200S and NC3240S models - for virtually all of its circuit in Wisconsin Illinois Iowa Minnesota Nebraska North Dakota and Ohio. It also will deploy NEC's award-winning E V and P Series large-screen displays in other areas of the cinemas. NEC Display is renowned for offering quality digital cinema projectors but we're also looking forward to benefiting from a wider spectrum of products in our latest agreement says Bruce Olson president of Marcus Theatres. The ability to change food and beverage items on the fly with dynamic digital menu boards and to easily run advertising will be true differentiators for us in the marketplace. Doremi Cinema will provide digital Integrated Media Block /ShowVault systems upgradable to 48 frames per second as well as 4K playback resolution. Moreover state-of-the-art CaptiView personal captioning systems and innovative Fidelio wireless audio delivery systems for the hearing and visually impaired will be equipped throughout the screens. “We have assured that our guests can experience the pristine visual presentations digital cinema offers. The advantages for our guests will be brighter and better focused images and a consistently clear and steady picture with truer more vibrant colors whether they see a motion picture on its first showing or in its last week of exhibition ” says Olson. “The installation of this new digital technology will give us the flexibility to schedule not just major Hollywood motion pictures but more 2D and 3D presentations of live and recorded non-film programming such as sporting events music Broadway plays and many more offerings in all of our markets.” Olson says the rollout of digital cinema will also provide Marcus Theatres with the opportunity to increase the number of 3D screens the company will offer its guests in the future. “We are extremely pleased with Marcus Theatres’ decision to deploy Doremi’s Integrated Media Blocks) across their circuit ” says Michael Archer vice president of digital cinema Doremi Cinema. “Not only are they deploying the industry’s only DCI Compliant IMB but Marcus Theatres will benefit from the advanced feature set including higher frame rates and alternative inputs with complete scaling.” Cinedigm is responsible for structuring and implementing the underlying VPF (virtual print fee) agreement that enables the conversion to digital cinema as well as providing the entire administration responsibility of the VPF program. We're thrilled we were able to create a customized digital cinema solution for Marcus Theatres including an anchor position in our recently announced up to $130 million digital cinema funding facility says Chris McGurk chairman and CEO of Cinedigm. We look forward to supporting the Marcus rollout so their audiences can enjoy the benefits of digital cinema as soon as possible. Ballantyne Strong is the project's reseller and will provide installation and integration services warranty and first-level support monitoring the health of each projector in the system from its network operations center. Doremi will provide the digital servers with integrated media blocks. Ballantyne Strong is extremely proud to continue our 40-plus year partnership with Marcus Theatres on their conversion to digital projection technology. Along with providing the first-rate equipment of our distribution partners NEC and Doremi Ballantyne will also be offering installation NOC and after-sale maintenance services for the entire Marcus Theatres circuit says president and CEO Gary L. Cavey of Ballantyne Strong. NEC digital cinema projectors are Digital Cinema Initiatives (DCI) compliant which allows exhibitors to capitalize on current and future growth opportunities and can be centrally managed freeing up on-site theater personnel for more strategic activities. The NEC deployment is scheduled to begin shortly to meet fall 3D blockbuster movies including Twixt Hugo and The Adventures of Tintin with all screens slated to go digital by the end of 2011. For more information on NEC's digital cinema projectors visit http://necdisplay.com/category/digital-cinema-projectors. To learn more about financing options and current promotions please visit http://www.necdisplay.com/GoDigital. NEC's Cinema Advantage program offers Reward Points and exclusive promotions to small-to-medium-sized exhibitors. Visit http://neccinemaadvantage.com to register. ,2688
Four Minnesota Theatre Chains Convert to Digital with NEC,2011-08-31, NEC Display Solutions of America has announced the deployment of almost 400 NEC digital cinema projectors at four of the top Minnesota-based theatre chains. Cinema Entertainment Corporation Mann Theatres of Minnesota Muller Family Theatres and United Entertainment have all selected NEC digital cinema projectors for their conversion from film projection to digital. The Minnesota exhibitors ordered select models from NEC's complete line of digital cinema projectors including the NC1200 NC2000 NC3200S and NC3240S models for almost all of their screens. Muller Family Theatres in particular tapped NEC's NC3200S and NC3240S digital projectors for its largest screens.
Cinedigm is responsible for structuring and implementing the underlying virtual print fee agreement that enables Cinema Entertainment's Mann Theatres' and United Entertainment's conversion to digital cinema as well as providing the entire administration responsibility of the VPF program.
Ballantyne Strong is the project's reseller and will provide installation warranty and technical services to include support from its state-of-the-art network operations center. GDC Technology will provide the cinema servers. We are pleased to have a great relationship with these Minnesota-based theater chains says Pierre Richer president and COO of NEC Display Solutions. NEC is able to offer a comprehensive technological solution for exhibitors to elevate the entire theater-going experience. Cinedigm welcomes the opportunity to help these Minnesota theaters reach their next level of growth says Chuck Goldwater president media services group at Cinedigm. Making the transition to digital can seem daunting but these exhibitors have entrusted their success to an experienced group of partners who won't let them down. We're honored to be leading the Minnesota theaters deployment with GDC Technology serve our distinguished role as NEC's master reseller for digital cinema projectors and also to provide the exhibitors with post-sale 24/7 technical support says Gary Cavey president and CEO of Ballantyne Strong.
GDC prides itself on transforming the digital cinema technology for the Minnesota theaters and welcomes the opportunity to work with our valued partners NEC Ballantyne Strong and Cinedigm says Dr. Man-Nang Chong founder and CEO of GDC Technology. NEC Display Solutions of America http://necdisplay.com/category/digital-cinema-projectors. ,2689
Pinkau Upgrades with Iridas SpeedGrade NX ,2011-08-31,Pinkau was the first German company to gain international notoriety for their 3D usage in the entertainment sector and is one of the few companies in Germany to provide specialized 3D underwater equipment. Recently the company added Iridas SpeedGrade NX to its post-production suites to grade and finish Ocean 3D. Ocean 3D's unique underwater scenes were filmed on location from the Red Sea the Gulf of Aquaba Egyptian National Parks and include amazing images of swarming tuna around Malta. A prime example of how effective 3D story telling can significantly enhance a storyline in Oceans 3D the audience becomes a virtual crew on the expedition; experiencing the excitement of sailing in storms watching dolphins playing at the bow or setting up equipment for amazing dives. Thomas Pinkau says Our workflow for Ocean 3D relied on a variety of cameras and formats including Canon HF100 and Canon 5D MKII. We originally planned on using our established Premiere and After Effects pipeline for selecting and fixing shots but SpeedGrade NX quickly became part of the early post-production stages as well. With SpeedGrade NX's wide range of tools for analyzing and fixing Stereo 3D material we quickly got addicted to bringing the material directly into the SpeedGrade suite. We even used it for creating the rough cut in S3D as it was significantly faster and more convenient than any other editorial solution we used before.” “One thing we enjoyed in particular ” Pinkau says “was the file loading mechanism of SpeedGrade NX: after creating a file structure for the project it simply loads left and right eye automatically. While we didn't rely on the auto correction for the geometry (the tools for manually correcting geometry allow for very fast and precise correction we prefer to keep full control) the auto matching for left/right colorimetry saved us a huge amount of time. It made color grading a breeze as we could focus on creating stunning underwater pictures like the examples you see here. SpeedGrade NX brings refined stereo tools a breakthrough in support for the latest RAW cameras increased render speed and improved color management. SpeedGrade NX includes a major update to the award-winning DualStream stereo toolset native Arri Alexa RAW workflows and beta support for the Epic camera from Red Digital Cinema. Iridas' industry-leading Universal RAW architecture which supports virtually all RAW cameras used in production today has been updated to include native support for the Arri Alexa V3 color science. V3 RAW files can be reviewed and graded instantly in real time and high fidelity. This is especially important for stereo workflows where 3K review in render quality previously required lengthy transcoding processes. In addition to systems from Red and Arri Iridas continues to support virtually all other RAW-based cameras in the market including cameras from Phantom Weisscam Silicon Imaging Ikonoskop Indiecam and others. Iridas www.iridas.com ,2691
Paragon Uptown Sign with Cinema Scene Marketing,2011-08-31,Cinema Scene Marketing has signed agreements to expand its digital media network to Paragon Theaters and Uptown Entertainment locations.
Under the new partnership Cinema Scene will bring TrailerVision to Paragon and Uptown locations. Cinema Scene’s TrailerVision units play unique content including digitally enhanced movie trailers living posters and corporate ads complete with stereo sound and Bluetooth/WiFi connectivity with mobile users. “With the inclusion of Paragon and Uptown Cinema Scene continues to deliver on its mission of bringing DOOH solutions into the lobby environment. Both of these new exhibitor partners bring top notch facilities in the highly desirable markets of Detroit and Miami ” says Brad Derusseau principal and chief technology officer of Cinema Scene Marketing. “We are excited to be a part of the Cinema Scene Digital Media Network. This partnership will allow us to provide exciting content to our patrons with innovative new media ” says Mike Whalen CEO of Paragon Theatres. Cinema Scene Marketing http://www.cinemascenemarketing.com ,2692
Pixomondo Standardizes Workflow on Shotgun,2011-08-31,International visual effects company Pixomondo has standardized on the Shotgun web-based production management and collaboration system. It is the center of Pixomondo's worldwide production pipeline that spans 11 studios and more than 600 employees in Berlin Beijing Burbank Frankfurt Hamburg Los Angeles London Munich Stuttgart Shanghai and Toronto. What Shotgun does for us is to literally get everyone on the same page says Pixomondo managing producer John Parenteau. It centralizes the entire production – schedules shot status playlists etc. – and updates made anywhere are immediately available to everyone. Eighty percent of our projects are worked on at multiple facilities and with Shotgun it's like working with another department not another country. Shotgun has taken a lot of the stress out of production and has brought people together. Pixomondo began testing Shotgun as it considered the buy versus build decision after expanding beyond what its existing database could handle. In the production environment you simply don't have the time to build everything from scratch and because Shotgun is comprehensive and gives us a good base to build around we didn't have to says Pixomondo head of pipeline Patrick Wolf. Today Pixomondo's Shotgun system houses more than 120 projects 7 500 shots 1 100 assets 30 000 tasks and 500 000 notes. Designed specifically for visual effects CG feature animation and video game industries Shotgun enables all parties involved in a project with instant access to critical data messaging and real-time project progress. It is also highly flexible with an API that enables users to easily write their own tools and integrate Shotgun with other pipeline tools and creative software applications. While it can be hosted locally Pixomondo opted to have Shotgun host its system to eliminate the direct costs of building and managing server infrastructure to support it. Pixomondo has deployed Shotgun on features including Super 8 Green Lantern Sucker Punch and Fast Five and is currently leveraging the system heavily for The Invention of Hugo Cabret the highly anticipated feature from Martin Scorcese with 10 Pixomondo studios working on the project simultaneously as well for Red Tails Hawaii Five-0 Terra Nova Hindenburg and other features and TV shows. With so many divisions sharing work communication needs to be transparent to make everything rum smoothly and let teams from all over the world feel and work like one team says Pixomondo COO China and executive producer Jan Heinze. Shotgun has replaced all of the emails that used to go back and forth with schedules version updates and feedback; the notes coordinators took on all sides and sent around. That's all gone. Shotgun made our information exchange real time. We can now discover problems before they become problems. Shotgun has given us the transparency a multinational and multicultural working environment requires. Wolf and his team are rapidly building out the studio's pipeline around Shotgun developing integration and tools including: · Enabling artists to create new versions of scene files and the associated folder structure directly from within Shotgun and load their assigned tasks from within Nuke · Enabling artists to trigger the creation of proxy renders in the Deadline render queue management system by right clicking in Shotgun · One-click playback from Shotgun playlists to the RV image and sequence viewer utilizing locally cached media if available · Enabling coordinators to cache playlist media on viewing stations for faster playback with RV · Enabling IO to initiate file transfer of playlists or versions to remote facilities. Transfers are then queued in Deadline and executed on a render node. Shotgun's API is really flexible and our developers and scripters can build tools very quickly Wolf says. When we rolled out Shotgun worldwide artists picked it up right away and people only do that when it's something that truly helps them. We also get the benefit of an extended development and support team; they're delivering new features and fixes all the time. The Shotgun guys are also very responsive. They work like we do: around the clock. Shotgun Software http://shotgunsoftware.com/ ,2693
QubeMaster Xport now Compatible with Apple Compressor 4,2011-08-31,Qube Cinema has announced the full compatibility of the QubeMaster Xport plug-in with Apple Compressor 4. With QubeMaster Xport and Apple's $49 rendering utility filmmakers post-production facilities and pre-show content creators can reliably and cost-effectively master Digital Cinema Packages (DCPs) for film festivals and theatrical distribution. Rather than requiring the whole Final Cut Suite anyone with a Mac can now master their digital cinema content regardless of what editing application they use says Eric Bergez director of sales and marketing at Qube Cinema. Compressor 4 is a great application and we highly recommend it to our customers. Creating flawless DCPs is technically complex and used to require expensive equipment which only the big players could afford says Bergez. QubeMaster Xport simplifies the process removes the cost hurdle and levels the playing field for everyone. Our goal is to empower the small post house or independent filmmaker and provide them with the tools to distribute their stories he says. The Digital Cinema Package format is quickly becoming the standard for exhibition and film festivals. With Compressor 4 and QubeMaster Xport production companies documentary makers postproduction facilities and even film students can now master their own DCP's for the cost of a couple of film prints. Compressor 4 is sold as a stand-alone application online at the Apple App Store. QubeMaster Xport also works with Compressor 3.5 a component of the Final Cut Suite. QubeMaster Xport is available for download and purchase at http://www.qubecinema.com/products/xport. QubeMaster Xport 2K retails for $799. 3D and 4K modules can be added and combined for $999 per module. ,2694
Shaw Theatres Singapore to Install Imax System in its JCube Complex,2011-08-31, Shaw Theatres has signed an agreement to install a digital Imax theatre system in its new JCube entertainment complex in Singapore which should be completed by 2012. This will mark the opening of Shaw Theatres' second Imax theatre. In May Shaw Theatres opened the first commercial Imax theatre in Singapore which to date has generated over $1.4 million of gross box office.
Our Shaw Theatres Lido Imax has been a resounding success with our patrons willing to pay a premium to enjoy their favorite Hollywood films in the superior Imax platform says Mark Shaw executive vice president of Shaw Theatres. We are building on this momentum with a second Imax theatre in our new Shaw Theatres JCube multiplex to offer even more patrons the best movie-going experience possible.
The success of Shaw's Imax Theatre in Lido coupled with today's agreement underscores the growth potential for Imax in Singapore says Imax CEO Richard L. Gelfond. Southeast Asia is an important market for us and we are pleased to leverage the region's increasing appetite for The Imax Experience with this latest network addition.
Our expanded relationship with Shaw Theatres highlights the value of the Imax brand and the continued business momentum Imax is experiencing in Southeast Asia says Don Savant Imax's senior vice president and managing director Asia Pacific. We are excited to partner with Shaw Theatres and offer a wider audience in Singapore the premium cinematic experience that only Imax can deliver.
Shaw Theatres part of the Shaw Organization was founded by the Shaw Brothers and has been operating cinemas in Singapore since 1927. It owns and currently operates six multiplexes across the island. They feature the latest in cinema technologies like Imax Dolby 7.1 Surround
and RealD 3D systems.
Shaw Theatres http://shaw.sg ,2695
Veritek to Support Sony 4K Projection Systems for Vue Cinemas,2011-08-31, Sony Digital Cinema has announced that it will provide 4K projection systems to the Vue Cinemas chain for their whole network of screens. In related news Veritek has started a ten-year service agreement with Sony Europe to deliver service support to exhibitors across Europe. As part of the overall agreement Sony then sought out an appropriate and qualified third party support company: Veritek will deliver field engineering support for the ongoing maintenance of the Vue systems once they are installed. James Salamon Veritek’s head of business development says “This is a fantastic opportunity for Veritek to transfer its superb reputation for providing unparalleled levels of expertise and customer support into a new and exciting market working in partnership with one of the world’s best known technology brands.” Avril Bryden Sony’s European repair network manager says “This is an exciting opportunity for Sony and we are delighted to be working with Veritek to deliver market-leading systems and support to Vue Cinemas. At Sony Digital Cinema we are committed to delivering high-end solutions to our exhibitors from the projectors to the service we provide after sales and we believe Veritek has the same high quality standard that we do. We have worked with them previously in other areas and their service excellence alongside their European capability are key factors of success for us. Roland Jones Vue’s IT director says “Veritek has shown a clear aptitude for the technical challenges posed by Digital Cinema. Vue Cinemas is embracing this exciting new era of digital presentation that will drive improved customer experiences throughout Vue locations nationwide. Veritek will be at the heart of maintaining the technical delivery of these experiences.”
Attenborough to Receive IBC 2011 International Honor for Excellence
