Cineplex Marburg Installs Kinoton TMS

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Mon, 01/30/2012 - 19:00 -- Nick Dager

The German movie theatre Cineplex Marburg has installed the Kinoton Theatre Management System in all of its seven auditoriums. Its staff is now busily introducing new TMS-based operating procedures. 

 “Instead of operating each digital cinema server individually we can now create playlists for all of the auditoriums on the TMS and easily distribute them to the servers says Jens Meissner the technical manager of the Cineplex Marburg. “Now the content is also efficiently distributed via the Kinoton Theatre Management System. “In addition the TMS automatically recognizes and extracts new key delivery messages sent to a designated e-mail account and stores them for further use. All we have to do is send the KDMs to the corresponding auditoriums simply by clicking with the mouse. Other valuable features include various functions that let us conveniently monitor the status of shows and projection booth equipment to identify any potential problems.”'
 At the Cineplex Marburg Kinoton’s service technicians integrated Dolby servers of several different generations into the TMS and configured the system to optimize operation of this heterogeneous environment. Kinoton ,3049
AAM Molinare to Partner on Range of Services,2012-01-31,Arts Alliance Media and UK post house Molinare have agreed to offer AAM’s digital cinema services to Molinare’s post-production clients and post capablities to AAM’s customers. The move is designed to offer producers and exhibitors a seamless end-to-end service from preproduction through to theatrical release. AAM will work with Molinare to provide services such as digital cinema package creation and re-versioning for different territories along with a full quality-control service in either of its two fully equipped digital cinemas in London and Paris. The agreement will also provide AAM clients with post-production services from Molinare. These include distribution to cinemas globally – including the option of satellite transmission direct to cinema servers or the alternative of distribution on hard drive or USB. AAM will also provide a full security key management service to ensure that content can only be unlocked by a specified cinema screen at the specified time. Scott Holmgren Molinare’s chief operating officer says “Being able to offer this final step of digital cinema asset creation and distribution means that we can now offer our customers a totally integrated workflow through to getting their product to cinemas. Arts Alliance Media’s experience in the digital cinema world is unparalleled and we’re delighted to be working with them and looking forward to the new services we’re going to have on offer.” Victoria Galloway content and distributor services director of Arts Alliance Media says “Working as a partner with Molinare means that we can get involved with clients at an earlier stage and help them to plan requirements for their cinema release anywhere in the world with everything from trailers to the final feature in different versions. We were impressed with the fantastic service Molinare provide to their clients and the reputation they have for technical excellence and we’re excited to work with them to bring the efficiencies and quality of digital cinema to more filmmakers.” Arts Alliance Media ,3050
Scorsese to Receive 2012 Harold Lloyd Award,2012-01-31,Hugo director Martin Scorsese has been named the 2012 recipient of the Harold Lloyd Award by the International 3D Society in Hollywood. Winner of this year's Golden Globe Award for directing Hugo Scorsese will receive the Society's highest filmmaker award at a black- tie ceremony at the Beverly Hills Hotel February 1st. Marty Scorsese has embodied Harold Lloyd's vision and passion for captivating movie fans around the world for his entire career says Suzanne Lloyd Lloyd's granddaughter and chairman of Harold Lloyd Entertainment who will make the presentation. With Hugo he has shared his love of filmmaking and filmmakers in 3D which would also have thrilled Harold. For all of us involved in the 3D creative process Mr. Scorsese's contribution this year with 'Hugo' is an artistic achievement we all celebrate says society chairman Jim Mainard of DreamWorks Animation. The Award was established by the 3D Society and the Lloyd Family to annually celebrate filmmakers for groundbreaking artistic and technical achievement in 3D. Mr. Lloyd was a life-long advocate for 3D movies although technology never allowed him to realize his dream. But in joining last year's recipient James Cameron Mr. Scorsese has not only realized that dream but he has produced a work of art says Jim Chabin president of the Society. Added to his dedication to film restoration and preservation we simply can't imagine a more worthy recipient of our highest honor. Hugo Scorsese's first 3D feature was shot in London and Paris and is based on the novel The Invention of Hugo Cabret. The Los Angeles Times called the film Scorsese's valentine to the movies. Nominated for a Golden Globe for Best Picture Hugo is also in the running for the Society's Best Picture Award. Lloyd's great great granddaughter actress Jackie Lloyd will assist presenters on-stage at this year's honors. Along with legends Charlie Chaplin Buster Keaton and others Lloyd was one of the founders of Hollywood's original comedic and creative community. Lloyd wrote acted in directed and produced more than 200 films. In a 1923 interview Lloyd predicted that the person who produces perfect stereo motion-pictures will have accomplished the greatest achievement since the first motion-picture. He founded the Hollywood 3D Society in 1950 with Edgar Bergen and actor Sterling Holloway (the voice of Disney's Winnie the Pooh'). He served as its first President. In addition to his films the Harold Lloyd Archive contains more than 250 000 stereoscopic 3D photographs of Hollywood celebrities events people and places Lloyd encountered while pursuing his passion for 3D photography. The International 3D Society ,3052
Screenvision Signs Long-Term Deal with Wehrenberg Theatres,2012-01-31,Screenvision has signed a new long-term agreement with one of its key exhibitor partners Wehrenberg Theatres America's oldest family-owned and -operated movie theatre circuit.  Wehrenberg Theatres celebrated its 100th anniversary in 2006. Screenvision and Wehrenberg Theatres have been partners for over 20 years.  Under the terms of the renewed deal Screenvision will continue to have the exclusive right to sell the on-screen advertising digital pre-show and the non-exclusive right to sell promotions.  With the signing of the new long-term Wehrenberg deal Screenvision's top exhibitor partners are secured for an average term of 14 years.   Screenvision's national footprint includes over 14 900 screens. Screenvision is very excited to begin 2012 finalizing a new long-term partnership with Wehrenberg Theatres says Darryl Schaffer executive vice president operations and exhibitor relations Screenvision.  Wehrenberg is a key partner and secures our position in the important St. Louis DMA. Ronald P. Krueger chairman and CEO of Wehrenberg Theatres says By extending our partnership with Screenvision we know we will be able to not only provide quality pre-movie entertainment but innovative and fun alternative programming. Screenvision remains at the forefront of bringing unique exciting special events such as concerts documentaries sports and more.  It really is a win-win situation for everyone especially our guests. We are excited to continue our partnership with Screenvision says William Menke executive vice president and COO of Wehrenberg Theatres.  Our relationship goes back years and we are completely comfortable with Screenvision's commitment to being the technological leader in cinema advertising and to maintain a superior digital preshow. Headquartered in St. Louis Wehrenberg has 15 theatres with 210 screens in Missouri Illinois Minnesota and Iowa with nine locations and 131 screens. Wehrenberg's flagship location is St. Louis' Ronnies 20 Cine. This distinctive location includes an indoor drive-in theatre concept in the lobby as the theatre was built on the site of a former Wehrenberg drive-in theatre which first opened for business in 1948. Screenvision ,3053
Society of Camera Operators to Honor Eastwood,2012-01-31,The Society of Camera Operators will present the 2012 Lifetime Achievement Awards February 19 at the Leonard Goldenson Theater at the Academy of Television Arts and Sciences in North Hollywood California. The Governors Award for Lifetime Achievement will be presented to Clint Eastwood in recognition of his lifetime of creative contributions and advancement to the art and craft of cinema. Phil Radin executive vice president marketing Panavision will receive The President’s Award for Lifetime Achievement.  The Lifetime Achievement as Camera Operator Award will go to Paul Babin. Beginning his credited work as a camera operator in 1987 Babin has operated on motion picture blockbusters including Terminator 2: Judgment Day Magnolia and The Soloist as well as numerous television hits. For Lifetime Achievement as Camera Technician the SOC has selected Zoran Veselic. Beginning in 1979 Veselic has been the A camera technician for many major feature films. Veselic’s credits for Focus Assistant include Moneyball The Muppets Men in Black Spider-Man and Up in the Air. The Lifetime Achievement as Mobile Camera Platform Operator goes to Harry Rez. Starting with credited work in 1973 Rez has a resume filled with successful feature films and television programs. His credits as Dolly and Key Grip include Doogie Howser M.D. Providence and Nashville. Andrew Cooper will receive the Lifetime Achievement as Stills Photographer award. Since 1984 Cooper has built a portfolio of some of the industry’s most iconic images. His credits for motion picture still photographer include The Departed Braveheart and War Horse. The Historical Shot Award will be presented to George Richmond for his handheld shot in the scene titled The Siege of Bexhill in the feature film Children of Men. The SOC’s Lifetime Achievement Award for Distinguished Service to the Motion Picture Industry will be presented to Sol Negrin ASC. This esteemed director of photography leader of the IATSE Local 600 and SOC supporter is also a film school professor at NYU and Five Towns College. He is known for his work on Kojak The Patty Duke Show and Coming to America. His son Michael Negrin will present the award to. The SOC will also present two awards for Camera Operator of the Year. Nominees for the Feature Film Camera Operator of the Year are: Will Arnot SOC - The Help Stephen Campanelli SOC - J. Edgar Mitch Dubin SOC - War Horse Peter Rosenfeld SOC - Cowboys & Aliens P. Scott Sakamoto SOC - The Descendants The Television Camera Operator of the Year nominees include: Grayson Austin SOC - Memphis Beat Gregory P. Collier SOC - Bones Simon Jayes SOC - True Blood Andrew Mitchell SOC - Glee Chris Tufty SOC - The Closer To recognize Technical Achievement the SOC will award Thales Angenieux for the Optimo 15-40 28-76 45-120mm family of handheld zoom lenses and Herb Ault’s Grip Trix Shadow Tracker and Tracker XL Electric Powered Camera Platforms. The SOC holds this annual Awards event in an effort to raise funds for the Vision Center at Children’s Hospital Los Angeles. Each year the SOC donates the production of a film in conjunction with the Vision Center to help spread the word about a simple diagnostic tool to help prevent the tragedy of certain children’s eye diseases. The title and theme of this year’s SOC film presentation is Know The Glow. The Society of Camera Operators ,3054
Sony F65 Camera Now Shipping 
,2012-01-31, With the momentum behind 4K technology continuing to build Sony is now shipping its F65 CineAlta digital motion picture camera.
At an exclusive ceremony held during the Sony Open golf tournament Sony senior executives including Sir Howard Stringer chairman CEO and president of Sony Corporation presented the first official production unit Serial number 10001 to Otto Nemenz president of Hollywood-based motion picture rental company Otto Nemenz International.
                                                                                                                                     “The delivery of this first F65 represents a significant technological advancement for content creators and we are excited to see what filmmakers will create with this new tool ” Stringer said. Since it was announced just a few months ago the F65 has been in high demand by the motion picture production industry with pre-orders for approximately 400 units worldwide. The F65 has been tested by a range of DPs and production professionals and currently at least two major studios are planning to use it on projects that will begin shooting almost immediately upon delivery of the cameras.
  “This is an extremely exciting time for the production industry ” said Nemenz. “4K is now a reality and represents the next great leap in entertainment technology. The F65 is a revolutionary camera and sets a new standard for digital production workflows.” 
“Technologies like the F65 are the foundation of Sony’s global 4K expertise demonstrating that no other company can offer a total 4K experience ” Stringer said. “It’s all about keeping image quality at the highest level possible – at every point from the camera to final projection. We’re proud to make this first presentation to Otto Nemenz and we will continue working on the development of 4K technology to deliver the ultimate viewing experience to consumers around the world.” The F65 camera’s unprecedented 8K-image sensor with approximately 20 total megapixels offers higher image fidelity than any other digital cinema production camera. With 16-bit Linear RAW File output capability the F65 creates the gateway to an end-to-end 4K file-based mastering workflow. 
The F65 camera will be available direct from Sony and through authorized resellers. 
The Adventures of Tintin Wins Golden Globe for Animation,2012-01-31,Steven Spielberg and Peter Jackson’s The Adventures of Tintin was this year’s Golden Globe winner for Best Animated Feature Film. NewTek’s vice president and head of 3D software development Rob Powers served as supervisor of the Virtual Art Department for Tintin prior to joining NewTek. A VAD is much more than previs. It involves interacting with the entire film creating virtual environments—complete with lighting texturing and atmospherics—that the director can use to explore how live actors interact within a 3D scene. Powers understands the power of the VAD having first introduced the concept in James Cameron’s Avatar. While working on Tintin Powers assembled a team of artists to work in Spielberg's Los Angeles-based VAD unit using LightWave 3D as the primary tool for asset creation and texture baking. Digital assets were delivered to Weta Digital as FBX files that were imported into the studio’s Autodesk Maya-based pipeline and shared with Giant Studios for motion capture integration with Motion Builder. Many congratulations to Steven Spielberg Peter Jackson and the entire team of artists animators and actors for their ‘Best Animated Feature Film’ Golden Globe win for The Adventures of Tintin says Powers. The opportunity to work with and learn from such a diverse group of artists and visionaries was very rewarding. Watch The Adventures of Tintin trailer at NewTek ,3056
XDC Signs Deal with Unique Digital for the Rosettabridge TMS,2012-01-31, XDC has signed a supply and support agreement with Unique Digital to add the Rosettabridge theatre management system as part of its integrated product portfolio. XDC is now including Rosettabridge as part of the virtual print fee deployment packages and in addition will supply the TMS to non-VPF customers through their integrator arm FTT. 
     “A professional level TMS is a key component to ensure efficient operation of a digital cinema whether or not part of a VPF deployment ” says Serge Plasch CEO XDC. “Unique’s Rosettabridge solution has a comprehensive set of features and in addition delivers a range of external interfaces to better manage content and key delivery as well allowing remote support. We are already deploying Rosettabridge in our key projects in Denmark Spain and the UK and look forward to working with the team at Unique right across our territory.” 
 Rod Wheeler sales and marketing director of Unique Digital says “Following extensive evaluation with XDC and the inclusion of several new innovative features we are proud to be supporting them in delivering a fully integrated solution.  A key element is Rosettabridge’s ability to manage and operate the full range of DCI compliant servers and projectors. In addition we provide content distribution tools gained through our extensive expertise in Advertising content delivery.” 
   “XDC is the leading VPF deployment entity in Europe and along with their integrator arm FTT offer a comprehensive suite of products and services ” says Chris Hagan managing director of Unique Digital. “We are delighted to be working with Serge and his team in driving the conversion to digital in Europe and delivering a world class product to their customers.” ,3057
Zeiss Arri Engineers Win Technical Oscar for Master Prime Cine Lenses,2012-02-14, Carl Zeiss design engineer Uwe Weber and his late colleague Dr. Jürgen Noffke who passed away in 2011 have been honored with the Academy of Motion Picture Arts and Sciences Scientific and Engineering Award for the mechanical and optical design of the Master Prime cine lenses a joint development by Carl Zeiss and camera manufacturer Arri. The award was presented at ceremonies on February 11. “Carl Zeiss stands for exceptional lenses and exceptional images. Our aim is to open up completely new creative possibilities for filmmakers with our lenses. We are delighted that this aim has been honored by the award for our Master Prime lenses ” says Dr. Winfried Scherle vice president and general manager of the camera lens division of Carl Zeiss. “For more than 70 years we have been working with Carl Zeiss to develop and manufacture cine lenses ” says Franz Kraus member of the Arri board of management. “The vibrant exchange of experiences between our two companies and our customers allows us to develop exceptional products such as the Master Prime lenses.” Michael Ballhaus one of the most highly regarded cinematographers said “The Master Prime lenses are the perfect tool for me. They open up even more creative ways to do my work. Using the Master Prime lenses I even had the opportunity to shoot a car chase in the middle of the night. No extra lighting was needed and the images had so much more contrast and much less flare.” The experience of many successful cine lenses has gone into the development of Master Prime lenses. Numerous Oscar-winning movies have been shot with Zeiss lenses including the legendary The Lord of the Rings trilogy which won a total of 17 Oscars. Carl Zeiss and Arri jointly introduced the Master Prime lenses in 2004 for the Arri cine cameras. They are built by Carl Zeiss and marketed by Arri. Arri ,3062
Assimilate Announces Improved Playback for Red Epic Stereo Content,2012-02-14, Assimilate has announced that Scratch and Scratch Lab version 6.1 have improved performance levels in the playback of Red Epic Stereo content. Scratch Lab now provides DITs DPs and Directors with dailies playback and review of Raw Stereo Epic streams direct from the camera at a full 48 FPS. Scratch 6.1 finishing systems can achieve the same 48 FPS playback rate of Epic Stereo content even after sophisticated color grades and VFX have been applied. Now directors and DPs that are planning the next generation of stereo feature films can have the confidence of knowing that they can maintain the integrity of their shot from on-set QC and review all the way through post-production. And best of all they can eliminate the costly and time-consuming step of transcoding. “48 FPS Stereo Epic feature films are the next holy grail on the moviemaking horizon ” says Ted Schilowitz of Red. “Directors are constantly pushing the envelope to deliver the highest quality cinematic experience possible and Epic is the camera of choice for the majority of the top stereo productions in 2012. We’re delighted that these productions now have the benefit of 48 FPS playback review and QC of stereo EPIC shots on-set and in real time with an industry leading tool like Scratch Lab. The ability to achieve 48 FPS Stereo Epic support in a world-class dailies workflow system for less than $5 000 is astonishing.” Jeff Edson CEO of Assimilate says “Scratch and Scratch Lab have been at the leading edge of digital moviemaking since the original Red One camera. Today’s announcement is just another example of how Scratch and Lab and Red continue to set the pace for the industry. Assimilate is dedicated to delivering the highest quality most consistent artist experience for file-based content - from image acquisition all the way through DI and post. We’re committed to continue working in lock-step with Red as we consistently deliver the technology that changes the way the world watches movies.” Assimilate ,3063
Band Pro East Moves to Midtown Manhattan,2012-02-14, Band Pro East has moved their offices from the far west side of Manhattan to a new location in the heart of New York City's photo publishing advertising and multimedia district. The new office is located on the 11th floor of 1115 Broadway between W. 24th Street and W. 25th Street across from Madison Square Park. 

 Band Pro East marketing development and sales manager John Fishburn says We are now in the heart of Manhattan and in a great neighborhood. Located a short two-minute walk to the subway a five-minute walk to the PATH train and within walking distance of Penn Station this new locale provides quick access for all. We are very pleased with the opportunity this will provide to serve our current and new customer base both local and out-of-town visitors. The office includes a showroom with space for Band Pro's signature one-on-one customer training and product orientations a conference area a seminar room and an espresso/cappuccino bar. I think the style of this office is so conducive to customer meetings and trainings says Dawn Terranova account executive Sony Electronics. John has really made a home here already and I know I'm going to enjoy working with him in this new atmosphere.
 We are showing our commitment to the New York and East Coast production community with this move says Fishburn. The new office is better situated to be within reach of our customers and the large seminar space will allow us to continue our tradition of educating our customers about the latest equipment and best practices in digital cinematography. ,3064
Epic Converts 69 Screens to Digital,2012-02-14, Epic Theatres of DeLand Florida is converting 69 screens to digital projection. The latest deployment follows on the heels of successful installations of Barco's DP2K and DP4K digital cinema projectors in Florida and North Carolina. The company's brand new theatre which opened in December in Deltona Florida now boasts the area's only cinema with two 69-foot large-format Epic XL auditoriums featuring RealD XLW 3D. Barco installed 12 screens at this location including six 3D auditoriums bringing the total to 69 Barco projectors deployed throughout the circuit.  “It was an easy decision to continue using Barco as their team has always been responsive to our needs and has been an excellent partner to us throughout our digital deployment ” says Clint DeMarsh vice president for Epic Theatres. “Additionally Barco is the only supplier that could provide the light levels and image quality we needed on our Epic XL screens and the resulting cinema experience is truly world class.”  “Epic continues to elevate the cinema experience for their patrons with the latest innovations and careful attention to detail ” says Terri Westhafer director of business development for Barco Digital Cinema North America. “It's exciting to experience full digital projection conversion with this important and long-standing customer. They have been on board with Barco since the beginning of changing from film to digital and we appreciate their loyalty and vision as they have equipped their state-of-the-art Deltona theatre with 4K equipment. It has always been my pleasure to work with the DeMarsh family and we look forward to continuing our partnership in the coming years.” ,3065
Imax Barco Agree to Seven-Year Exclusive Technology Partnership,2012-02-14, Imax Corporation has selected Barco as its exclusive worldwide projection technology partner for its theatres for the next seven years.  In the first phase of the partnership the parties will integrate an enhancement of Barco’s existing Xenon-based projectors for use in Imax’s current backlog and new system signings. This will be available in the second half of 2012. Barco and Imax will co-develop laser technology – benefiting from Barco’s laser innovations and Imax’s licensed Kodak IP. Simultaneously the companies will work together exclusively to manage the transition from Xenon-based to laser-based projectors which could be deployed in 2013.
 “Being selected by IMAX as the exclusive supplier for the world’s most immersive cinema experience is a strong endorsement of our leadership in the digital cinema projection business ” says Wim Buyens senior vice president of Barco’s entertainment division. “This partnership will strengthen our position as the premium provider of state-of-the-art cinema technologies that provide the perfect match for every screen whether small or large. What’s more it will enable us to further ramp up our manufacturing scalability and to continue setting the standard for future technologies.”
 “As we continue to expand globally it is critical that our technology partner keeps pace with our ambitions around innovation and growth ” says Imax chief business development officer Robert D. Lister. “Barco is that partner. A leader in advanced digital and laser technology Barco is well known for its quality and integrity. We believe the result of this collaboration will further differentiate The Imax experience for consumers strengthening our value proposition for studios and exhibitors.” 
 Todd Hoddick vice president for the Barco entertainment division in North America says “We are honored to have been selected by Imax as their worldwide and exclusive digital projection technology partner. We are both excited and committed to bring the full weight of Barco’s operational excellence integrity and ability to deliver on the ideals of the Imax brand. Together we are determined to redefine the immersive cinema experience.” ,3066
Be Media Cinema Group Claim Giant Screen First,2012-02-14, Be Media and Cinema Group have announced that they have converged traditional Imax and 4K digital projection from the same theatre booth window in the new and improved Desert Imax Theater of Cathedral City California. The companies say the project is considered to be one of the first digital 4K projection systems in the giant screen format. Citizens of the Coachella Valley are now of very few in the world with access to the highest quality and largest presentation of first-run movies education films Xpand 3D gaming consoles and laptop content. David Sayah Be Media’s vice president says “We were given the task to convert the community’s treasured landmark to digital while also maintaining the current Imax systems in a way that would utilize the entire 70-foot by 52-foot screen be as bright and beautiful in both 2D and 3D and be easily controlled and maintained by any member of the theatre’s staff. It was the perfect undertaking for Be Media and we are extremely proud of the results.” The theatre has been engineered to display untraditional auxiliary content such as video game consoles laptops and microphones and in which all sources are controlled via touch panel. In addition to enable both Imax and digital content to be available at any given time Be Media customized a special platform cooling system and control interface. To ensure the longevity of the 4K digital system Doremi Lab servers Christie 4K projection and an Xpand 3D active system were installed. Be Media Cinema Group ,3067
Deluxe Acquires Centro Digital Pictures,2012-02-14, Deluxe Entertainment Services Group has acquired Centro Digital Pictures a provider of high-quality VFX animation and post-production services to Chinese and U.S. feature filmmakers based in Hong Kong. The Centro acquisition will be integrated into Deluxe Australia's well-established post animation and distribution businesses providing a trusted gateway for Deluxe's international customers looking to partner with Hong Kong and Chinese filmmakers. By bringing Centro into the Deluxe group of businesses it will also provide access for regional content producers looking to finish and deliver high quality content into North American and European markets. Centro's feature credits include the pioneering Storm Riders  which it also produced; Stephen Chow's Kung Fu Hustle and Shaolin Soccer; Quentin Tarrantino's Kill Bill; Mr Popper's Penguins for 20th Century Fox; Zhang Yimou's The Curse of the Golden Flower and Disney's The Muppets. We are very excited about the new opportunities for Centro as we join Deluxe's global organization  says John Chu general manager of Centro. We have a common commitment to delivering the highest possible quality of customer experience. As one of the pioneers of digital post production animation and visual effects in Hong Kong Centro has brought together a tremendously talented team over the past twenty years to support the Chinese and Hong Kong filmmakers working in the region ” says Alaric McAusland managing director of Deluxe Australia. “Under John Chu's leadership Centro has grown to be a leading provider not just for local but international filmmakers as well. Chu will continue to run the business reporting to McAusland. Centro's talent pool of VFX and animation artists is joining Deluxe as part of the transaction. Deluxe Entertainment Services Group ,3072
Dolby Again Supports Berlinale Film Festival,2012-02-14, Once again Dolby Laboratories supported the 62nd Berlin International Film Festival as the official supplier of digital cinema equipment and services including Dolby 3D. Berlinale 2012 got under way on February 9 and is recognized as the worlds largest publicly attended film festival attracting more than 19 000 accredited film professionals and hosting screenings for an anticipated 300 000 members of the public. The 11-day event will see the world premiere of 18 films in competition at the festival so pristine presentation is vital as Dr. Reiner Chemnitius supervising engineer of the Berlinale says. Every director in competition wants to ensure that their work is seen exactly as they intended and so we are pleased to be once again working with the Dolby Content Services Group to ensure this. They offer a broad range of expertise and technical solutions and are dedicated to achieving the highest quality of presentation so they are an essential part of the team supporting the festival. About 1 600 of the 2 000 screenings scheduled for this year's Berlinale will be digital cinema presentations to be shown on up to 50 different screens. The festival has worked closely with Dolby to establish a network of 37 digital cinema servers at the festival venues as well as five Dolby high-speed storage systems to enable a 24-hour transfer connection into the screening booths. The Dolby team will also be on hand to provide technical support for the largest digital cinema presentations during the festival including those in competition for the prestigious Golden Bear and Silver Bear awards. It is also anticipated that at least two 3D movies will be screened during the 2012 festival following the successful 2011 screening of the festival's first presentation in Dolby 3D before an audience that included German Chancellor Angela Merkel. The Berlinale is our busiest film festival of the year says Julian Pinn director of distribution services at Dolby not least because so many of the screenings are open to members of the public. With such a busy schedule it is vital for the festival organizers to know that they can rely on first-class technical support and we at Dolby are glad to help. Productions in the competition program this year include entries from Brazil Canada the Czech Republic Denmark France Germany Great Britain Greece Hong Kong/China Hungary Indonesia Ireland Italy Norway the People's Republic of China the Philippines Portugal the Russian Federation Senegal Spain Sweden Switzerland and the United States. With major international movies independent and art-house productions experimental and foreign-language movies and short films to be presented in many different locations the technical needs of the festival are extensive. The growth of digital cinema has seen the technical needs of the Berlinale change dramatically over the past few years says festival director Dieter Kosslick. Therefore we are delighted to continue our relationship with Dolby. It is a relationship built on mutual trust and we really appreciate the quality and flexibility of the service they provide to the festival year after year. Dolby Laboratories ,3073
European Cinema Admissions Show Slight Decline,2012-02-14, On the occasion of the 62nd Berlin International Film Festival the European Audiovisual Observatory releases its first estimates for European cinema attendance in 2011. The Observatory estimates that total admissions in the European Union dropped marginally by 0.4 percent to 960 million tickets sold from 964 million in 2010. As in 2010 admission trends varied across the individual European markets. Admissions decreased in 12 and increased in 10 out of the 22 EU markets for which provisional data were available. While many countries experienced only minor changes in their admission levels it was primarily a strong French market which kept admissions in Europe from a more pronounced decline. Driven by the success of national films and in particular Intouchables which sold 15.7 million tickets on the domestic market alone France registered the most significant admissions growth in terms of absolute numbers (+9.3 million +4.2 percent) reaching 215.6 million admissions the highest level since 1966. While cinema attendance increased slightly in Germany (+2.4 percent) and the UK (+1.4 percent) admissions dropped significantly in Italy (-9.6 million -7.9 percent) and Spain (-7.2 million -7.1 percent). Outside of the EU the Russian Federation’s impressive growth trend of the past years came to a halt with admissions stagnating at 165 million tickets sold though its position as Europe’s third largest cinema market in terms of cinema attendance was confirmed. 2011 also proved another successful year for the Turkish cinema market where admissions grew by 3 percent to 42.3 million the highest level of the decade. 2011 seems to have been a good year for national films in many European countries with national market shares increasing in 14 of the 22 EU member states for which data were available eight of which achieved the highest market share in the past five years. Apart from France where local films took 41.6 percent of total admissions national films performed particularly well in Italy (37.5 percent) the UK (36.2 percent) Poland (30 percent) the Czech Republic (29 percent) Denmark (28 percent) Norway (24.5 percent) and the Netherlands (22.4 percent). Looking outside of the EU Turkey remained the leading European country in terms of national market share with Turkish films taking 50.2 percent of total admissions in 2011. Though it is too early to estimate total gross box office (GBO) for the EU preliminary data show that GBO increased in nine out of the 17 EU markets for which data are available. This is a lower share than in the past years and hints at a comparatively reduced capacity of rising ticket prices to deliver higher GBO in 2011 in the face of flat or falling admissions contrary to 2010 when premium prices for 3D delivered significant gains. The number of 3D releases increased notably in 2011 e.g. in France from 23 in 2010 to 43 releases but the format seems to be maturing in some markets like the UK where 3D market share dropped from 24 percent to 20 percent of total GBO. Data for four other European markets including France show 3D market share ranging from 20 percent to 25 percent of total admissions. With 3D now well established on many European markets the focus of digital roll out has switched to 2D conversion of remaining screens. Digitization continued apace in 2011 with 52 percent of European screens having been converted to digital by the end of the year according to a new report from the Observatory and MEDIA Salles. ,3074
FTT to Open Office in Croatia,2012-02-14, The Croatian company AVC and the Austrian-based FTT Digital Cinema GmbH opened a new office in the Croatian capital of Zagreb to service the entire Balkan region. To this end the company has access to AVC’s extensive network including subsidiaries in Serbia Slovenia Macedonia Bosnia and Herzegovina as well as Kosovo.
 Thomas Rüttgers managing director of FTT Digital Cinema GmbH says “Having already implemented several projects together we are delighted to continue our co-operation with AVC in the context of a joint-venture company. In Austria and the Balkans AVC is well known in the audio and video technology and has a sound experience in managing complex projects. This is what makes them the right partner for us to advance the digital rollout in this territory.”
 Igor Rahelic managing director of the newly established FTT Digital Cinema says “The merits of FTT as a pioneer in the implementation of digital cinema in Europe are undisputed. The cinema market in Croatia Serbia and other Balkan countries is on the rise and together we can provide the exhibitors with a comprehensive expertise in all areas of the latest cinema technology.” ,3076
Gear Heads Now Offering Codex Systems,2012-02-14, Gear Head  which claims to be Australia’s leading supplier of digital motion picture camera systems has made a major investment in digital recording and workflow systems from Codex Digital. Codex Onboard Recorders data packs and related technology are now available through Gear Head locations in Sydney and Melbourne. Codex recorders will be used to support Gear Head clients shooting with the Arri Alexa and other digital camera systems. Codex was the first manufacturer to be certified by Arri to support its ArriRaw format. “The Alexa camera is in high demand in our market for television commercials dramas features visual effects and other projects ” says Nigel Gorham Gear Head Victoria state manager and national marketing director. “We’ve had many inquiries regarding ArriRaw and uncompressed HD 444 acquisition with the Alexa.” Codex systems will allow the company to meet that market demand with a proven production solution.  “The Codex Onboard recording system is the choice for most theatrical release feature films TV series and high-end commercial productions worldwide ” says Gorham. “It leads the market due to its reliability and high usability factor on set.” Gorham adds that Codex offers excellent technical support. “They are constantly updating the software and offer a high level of support ” he says. “It’s a good compliment to the commitment we provide to our customers.” Gear Head has a history of introducing new film technology to the Australian market. It introduced Sony’s F35 F23 and F9000 cameras to Australia and expects soon to introduce the Sony F65. Codex Digital Gear Head   ,3077
Harkness Says Foldable Perlux Digital Screens to be made in US,2012-02-14, Harkness Screens has announced the launch of Foldable Perlux Digital 220 screens manufactured from its US plant in Virginia.  Foldable Perlux Digital retains all the features of the Perlux Digital line with the added capability of being folded rather than rolled. “With the costs of packaging and transportation continuing to rise we recognized a need to assist our customers in managing budgets and launched our Foldable Perlux Digital 140 and 180 screens last year to provide cinema operators and indeed installers with a more cost-effective digital projection screen solution. Adding Perlux Digital 220 to our foldable range means that we have our highest gain white screen available in a format that will help dramatically lower packing and transportation costs compared to traditional screen distribution.  Aligned to the cost savings these screens which ship inside a box are much more easily manoeuvrable into the auditorium making the installation process potentially less awkward and expensive ” says Andrew Robinson managing director of Harkness Screens. Manufactured in the USA Foldable Perlux Digital screens typically realize packaging cost savings of 66 percent and transportation savings of 20 percent against standard delivery methods.  Foldable Perlux Digital screens can be shipped by standard US carriers on overnight despatch which can significantly reduce delivery times. When installed using Harkness Screens prescribed installation techniques Foldable Perlux Digital screens provide a guaranteed crease-free seamless projection surface and are currently the only foldable gain screens available in the world. Harkness’ Perlux Digital brand (foldable and rolled) gain screens (Perlux Digital 140 Perlux 180 and Perlux 220) include both 2D and 3D (non-polarised light) screen surfaces for any size theatre with foldable screens available up to (23m/75ft x 12m/39ft in size).  Harkness’ Perlux Digital screens are considered by leading cinema exhibitors and special venue operators worldwide to be the premier gain projection surface.  Harkness Screens ,3079
Shooting Completed on Harvesting the High Plains,2012-02-14, Director and DP Jay Kriss has finished shooting his full-length historical documentary Harvesting the High Plains. The film is slated to air late summer or fall nationally this year on the PBS network.   Kriss co-owns the film production company Inspirit Creative based in Williamsburg Virginia with producer Sydney Duvall.  
Kriss began shooting the documentary in the summer of 2010 using a Panasonic AJ-HP3700 P2 HD VariCam camcorder outfitted with a Fujinon HAe10x10 (10x100mm) E-Series HD zoom lens.  In early 2011 he added a complement of Fujinon E-Series HD prime lenses including the HAeF5 5mm; HAeF8 8mm; HAeF10 10mm; HAeF12 12mm; HAeF16 16mm; HAeF20 20mm; HAeF34 34mm; and HAeF54 54mm which enabled him to match the needs of each shot with the ideal lens. 
Harvesting the High Plains recounts the hardships and challenges faced by farmers during the 1930’s Dust Bowl a time when farmland was devastated by extreme drought and excessive farming.   The 90-minute film tells the true story of two farmers—Ray Garvey of Wichita Kansas and John Kriss of Colby Kansas—who are credited with the expanded use of the innovative Summer Fallow agricultural method as well as other innovative farming methods that transformed uncultivated prairies into high yielding fields of wheat while conserving and respecting the land they used. The film depicts the fortitude of the American spirit that brought the country out of the Great Depression. “Something we all need to be reminded of in this present time ” says Kriss.
“The Fujinon digital cinema lenses gave me creative latitude that exceeded anything I’ve experienced with other brand lenses ” he says. “This film greatly benefits from the depth of field precision and clarity these lenses produce.”
“We really put these lenses to the test by shooting for weeks under extreme production conditions ” Kriss says.   Besides temperatures exceeding 102 degrees the lenses were continually subjected to extremely hot dry dusty winds common to the plains of Western Nebraska and Western Kansas.  Every evening Kriss would spend 1.5 to two hours meticulously cleaning dust from the lenses but they never failed to perform flawlessly.
“We also pushed these lenses creatively ” Kriss says.  “We adjusted the camera’s menus to shoot monochromatically and then affixed a ‘Red 25’ filter to the lens to obtain a high contrast effect.   Since the filter costs 4.5 stops it was extremely advantageous to be able to open the lenses as far as possible from T2.2 to T1.6 to maximize available light.” This also allowed Kriss to shoot with a very open lens a style he prefers.
Kriss also cites the excellent service and support he received from his Fujinon Optical Devices sales executive Bob Van Bodegon as well as John Heinke of Hampton Virginia-based Digital Video Group.
The finished film pulls together black/white establishing shots historical footage interview segments shot in color and a black/white scene featuring actors in 1930’s period dress operating vintage farm equipment to harvest a field of wheat.   Currently in post Harvesting the High Plains will be color graded to adjust and match the contrast and color temperatures of all scenes prior to 35mm mastering.
Kriss and Duvall co-wrote the script which was based upon tens of thousands of letters exchanged by Ray Garvey and John Kriss.  The letters sent daily via the U.S. Postal Service documented the history of their massive farm operation GK Farms as well as the national challenges caused by such historical events as The Great Depression The Dust Bowl and World War II.
 According to Duvall “This film documents the strength and resilience of these two farmers as they persevered to build an agricultural enterprise that eventually produced an unprecedented one million bushels of wheat by 1947—an accomplishment we hope will inspire contemporary Americans many of whom are also facing tough economic times.” 
 Inspirit Creative is also partnered with Back 40 Films in the feature documentary production The Vanishing Hemlock. The documentary focuses on the mass-scale death of more than 75 percent of the hemlock trees throughout the Smoky Mountains and one man’s commitment to save what’s left.   At times Kriss climbed more than 100 feet into a tree to shoot and also captured extensive aerial footage with his Fujinon lens.  Produced by David Huff and Back 40 Films in association with Inspirit Creative The Vanishing Hemlock will be released on Arbor Day in 2012. ,3080
Legend 3D Provides 3D Conversion for 2012 Best Visual Effects Oscar Nominees,2012-02-14, Legend 3D was a primary 2D-to-3D conversion partner for two of the films honored in the 2012 Academy Award for Best Visual Effects category. Legend 3D was selected as the sole conversion partner to seamlessly convert invaluable vintage scenes for Martin Scorsese's stereoscopic debut film Hugo and also worked with Michael Bay to enhance the storytelling for more than 75 minutes of live-action scenes in Transformers: Dark of the Moon. Scorsese says It was crucial for us to include actual footage from Georges Melies' A Trip to the Moon and The Merry Frolics of Satan in our film.  We relied on Legend 3D's conversion expertise to bring these beautiful images to life in 3D. Hugo required 2D-to-3D conversion for a variety of vintage 2D material across three key sequences in the film. Legend3D restored colorized and converted to 3D the key historical and renowned footage from Georges Melies' A Trip to the Moon and The Merry Frolics of Satan as well as new footage of Ben Kingsley in his role as Melies. Transformers: Dark of the Moon included live-capture and converted 3D content. Dr. Barry Sandrew founder CCO and CTO of Legend 3D says It is an honor to know that the contributions of our skilled stereographers and stereo artists at Legend3D resulted in the creation of dynamic 3D scenes that allowed the Oscar nominated VFX teams to fully embrace this medium and immerse moviegoers in the on-screen action. Having the Academy recognize the superior visual effects of these nominated films only further solidifies the vital role conversion plays in augmenting the caliber of today's 3D projects. Legend 3D ,3082
Marcus Theatres to Open Fourteenth UltraScreen Cinema,2012-02-14, Marcus Theatres will acquire the former OmniMax Theatre located in the Duluth Entertainment Convention Center adjacent to the company’s 10-screen Duluth Cinema at 300 Harbor Drive. Marcus Theatres will convert the domed theatre which closed last April to a nearly 70-foot-wide UltraScreen auditorium. This will be the fourteenth UltraScreen in the company’s circuit. Construction on the project will begin shortly with an anticipated opening in late spring 2012. “The Duluth UltraScreen will be the ultimate visual entertainment experience featuring the latest MDX (Marcus Digital Xperience) technology from Marcus Theatres ” says Bruce J. Olson president of Marcus Theatres. “Audiences will see and hear the latest Hollywood blockbusters like never before. Imagine amazingly pristine incredibly sharp images projected on a wall-to-wall screen measuring almost 70-feet-wide and three-and-a-half stories tall. A 39 000 watt state-of-the-art 7.1 digital sound system featuring JBL’s Academy Award winning Screen Array speaker system will create an audio experience that delivers a totally new level of excitement ” Olson says. “Powerful MDX4K digital projection technology will present movies released in 4K in even higher resolution with more definition and depth. The MDX4K system will also be ready for films produced to take advantage of faster digital projection speeds for more dramatic special effects and impeccable camera shots. Every seat in the new UltraScreen auditorium will also be replaced with luxurious high-back memory-foam chairs designed for the ultimate in relaxation and comfort ” says Olson. DECC executive director Dan Russell says the DECC had been in negotiations with Marcus Theatres for several months to make this new attraction a reality. “There isn’t a better theatre operator in the country than Marcus Theatres and the DECC is pleased to help them expand on the great success they’ve had with the Duluth 10 as they transform the OMNIMAX Theatre into an UltraScreen auditorium ” he says. “This not only gives Duluthians and visitors an exciting new entertainment option it also ensures that the reuse of the former OMNIMAX Theatre will continue to help strengthen our downtown.” ,3083
Michigan Revises Film Production Incentives,2012-02-14, In late December Michigan Governor Rick Snyder signed SB569 into law giving the Michigan Film Office authority to award incentives to eligible productions. Under the revised program productions shooting at qualified facilities such as Raleigh Michigan Studios will be eligible for a 30 percent incentive for direct production expenditures. Michigan residents above and below the line will be eligible for 35 percent.  Non-Michigan residents are eligible for 27 percent above the line and 25 percent below the line. Senate Majority Leader Randy Richardville who sponsored the bill says “With the passage of this five-year program we will now be able to focus on creating sustainable jobs for Michiganders and supporting and developing the infrastructure to support this exciting industry in Michigan.” Anthony Wenson director of operations at Raleigh Michigan Studios says “Working with Disney this past year on the largest movie the state has ever seen shows Raleigh Michigan Studios really can service a major motion picture. Now that we have predictability on the future of the incentive we can show future productions the same service and professionalism that we showed the Disney team.” Wenson and his team recently wrapped their first production at the brand new state-of-the-art facility in Pontiac. Philip Steuer executive producer of the film Oz: The Great and Powerful says “Raleigh Michigan Studios is a world class facility. It provides all the necessary tools under one roof to make a great movie making it an ideal venue for all sized productions.” “With this legislation now in place we can now move forward with our efforts to promote and grow the film industry here in Michigan ” says Carrie Jones director of the Michigan Film Office. “We are looking forward to bringing in some great projects this year while focusing on the talent and infrastructure Michigan has to offer.” The Film Office will be required to process applications within 21 days after their completion and has discretion to approve projects based on their economic impact in Michigan. New applications are available now on the Michigan Film Office website. Michigan Film Office Raleigh Studios
NCM Omniverse Present Love Never Dies,2012-02-14, Making its first appearance in the United States NCM Fathom and Omniverse Vision present Andrew Lloyd Webber's Love Never Dies the long awaited continuation to The Phantom of the Opera in a fully staged production pre-recorded at The Regent Theatre in Melbourne Australia. This exclusive showing of Love Never Dies will be broadcast to select U.S. movie theaters for two nights only beginning with the premiere event on Tuesday Feb. 28 at 7:30 p.m. local time; followed by an encore presentation on Wednesday March 7. This exclusive event will include an in-depth interview with Andrew Lloyd Webber as well as behind-the-scenes footage following Lloyd Webber on set as he provides creative direction to the cast and crew of Love Never Dies. I'm incredibly proud and honored to be able to bring this production to U.S. cinemas nationwide says Lloyd Webber. I hope very much that audiences take Love Never Dies to their hearts in the same way they have The Phantom of the Opera. Lloyd Webber's Love Never Dies is a follow-up to the award winning Phantom of the Opera featuring a 21-piece orchestra and an impressive cast of 36 including actors Ben Lewis as the Phantom and Anna O'Byrne as Christine Daae. The cinematic production directed by Brett Sullivan will enchant audiences bringing them into a world of passion obsession and romance. The captivating love story of the Phantom and Christine continues in New York's playground Coney Island. After his disappearance from the Paris Opera house the Phantom begins a new life in New York amongst the freaks and sideshows. The only thing missing from his new life is musical protegee Christine. In an effort to win back his love the Phantom lures Christine and her family to this new sparkling unknown world. The very best of Broadway is coming to local movie theaters again in this once-in-lifetime opportunity to see the next chapter in Andrew Lloyd Webber's Phantom saga Love Never Dies says Dan Diamond senior vice president of Fathom. This Fathom event gives fans their first chance to see this highly anticipated musical long before it opens in the U.S. National CineMedia Omniverse Vision ,3086
Study Considers Impact of Social Media on the Oscar Race,2012-02-14, Social media users are weighing in with their Oscar picks and pans according to the University of Southern California Annenberg Innovation Lab IBM and the Los Angeles Times who are measuring social media sentiment related to the 84th Academy Awards. 

 The project relies on sophisticated analytics and natural language recognition technologies to gauge positive and negative opinions shared in millions of public tweets. 

Focused on the Best Actor Best Actress and Best Picture categories the goal is to establish a model for measuring the volume and tone of worldwide Twitter sentiment to better understand moviegoers’ opinions. The results are intended to illuminate how advances in technology can help identify important consumer trends.   

 The Times has published information about the project including an infographic illustrating ongoing sentiment. The analysis will be updated as sentiment evolves over the weeks leading up to the Academy Awards on February 26. “This project is about identifying The People’s Oscar which means moving beyond pundits’ opinions of who the winners may be to understanding who real moviegoers want to see receive the highest accolades of the industry ” says professor Jonathan Taplin director of the USC Annenberg Innovation Lab. “We want to illustrate how new technologies can capture valuable information and opinions derived from the voices of influential movie fans.” 

 As social media tools become more prevalent those participating in the online conversation become increasingly influential especially as their opinions travel faster and to a wider group of consumers. The work between the USC Annenberg Innovation Lab and IBM is part of an ongoing collaboration to explore how technology can be used by organizations from news organizations and journalists to movie studios and retailers to better understand respond and predict public sentiment.   

 The ability to apply a quantified measurement to social media chatter surrounding the top films and performances of the season and to do so over a period of time adds a valuable new dimension to The Times awards coverage says Times assistant managing editor arts and entertainment Sallie Hofmeister. We're very interested in developing and embracing new technologies to inform our reporting and working with IBM and USC has made this early stage social sentiment tool possible. 

 In the case of the Oscar race innovative analytics and language software from IBM is being used that distinguishes nuance and sarcasm in order to pinpoint relevant opinions of the nominated films actors and actresses and show noteworthy trends. To date USC Annenberg and IBM have also applied similar techniques to film forecasting sports and retailing in an effort to identify social media trends and better understand public opinions. “Modern technology and social media platforms are changing the way consumers and organizations communicate ” says Steve Canepa general manager of media and entertainment IBM. “The collaboration between IBM University of Southern California and the Los Angeles Times demonstrates how the media industry is advancing at a pace consistent with the fast-evolving Twitterverse. By gaining insight from the growing world of social media we can add a new layer of intelligence that will change how all industries engage with their digitally savvy consumers.” USC and IBM are also working to broaden student skills in analytics demonstrating how Watson-inspired technologies can crunch complex data in real-time. Students are helping identify areas for research experimenting with the software and helping to develop new technologies that mine for insights. ,3087
Panasonic Now Shipping AG-3DP1 Camcorder,2012-02-14, Panasonic is shipping the AG-3DP1 a 3D integrated twin-lens P2 HD shoulder-mount camcorder with 10 bit 4:2:2 independent-frame full 1920 x 1080 resolution AVC-Intra recording. The AG-3DP1 has a twin-lens zoom lens system high-sensitivity sensors and the AVC-Intra codec. The camcorder also features new 3D Assist functions and multi-camera synchronization. Its newly developed 17x twin-lens zoom lens system features an expanded range for both wide-angle and telephoto to fit diverse shooting situations. 
“The 3DP1 will make 3D production easier ” says Steve Cooperman product manager Panasonic System Communications Company of North America. “With professional features such as genlock input and TC input/output and more the 3DP1 can now be part of multi-camera 3D systems; and with full-resolution 10-bit AVC-Intra the quality is much higher for new programming opportunities including 3D green screen work.”
“There are many situations where the cost and/or technical complexity of a rig have limited 3D production. Now the 3DP1 has the exceptional record quality to overcome this ” Cooperman says. “In addition there are situations where multiple rigs are required for a project but are impractical due to cost complexity or logistics. Now the 3DP1 can be used for professional multi-cam 3D productions and for ultra high-end productions and can also be combined nicely with a 3D rig. 
“Moreover with the 3DP1 Panasonic is offering an expanded 3D production system including the full 3D native BT-3DL2550 LCD production monitor the 2D/3D compatible BT-LH910 LCD production monitor the AV- HS450 switcher (when 3D enabled) and our AG-HPD24 P2 Portable recorders (two can be used for true L/R 3D or one for a side-by-side output from the camera or switcher).” The HD twin-lens system with 17x zooming was developed exclusively for the 3DP1 and because of its high-precision assembly requires no pre-shooting adjustment of the optical axis or angle of view. Focus zoom and iris adjustments are synchronized for the left and right lenses. The camcorder’s 58mm inter-axial distance allows a broad shooting rage of approx. 3.5 to 100 feet. The 3DP1 supports remote control (focus zoom iris convergence and recording start/stop). It boasts low chroma aberration and high resolution and delivers superb color reproduction detailed nuances and crisp 3D images even in dark scenes with minimal flare and ghosting. In addition to a zoom ring focus ring and iris ring that approach the manual control levels of interchangeable lenses the 3DP1 has an isolated convergence dial. By changing the convergence angle of the twin lenses the convergence point can be adjusted forward or backward to control leaping effects and depth. Three modes (near/normal/extra) maximize the twin-lens zooming capability for effective 3D shooting over diverse angles of view. The 3DP1 offers all the benefits of a familiar fast file-based P2 HD workflow including compatibility with a wide variety of NLE systems. Since all leading NLE systems support AVC-Intra they will be able to accept 3DP1 footage immediately. The process is further streamlined if the system can read the right eye/left-eye metadata tags to make batch ingest automatic.  And NLEs such as Avid Media Composer 6 offer full 3D editing and stereoscopic ingest finishing and play-out.  Stereo AVC-Intra is already supported on most production servers so server play-out is available now.  For customers who use Cineform that product will soon automatically ingest and convert 3DP1 footage to Cineform 3D files as easily as they now bring in 3DA1 content.  The 3DP1 will enhance 3D production opportunities while allowing users to maintain their P2 workflow or a Cineform 3D workflow. 
The 3DP1 has a suggested list price of $34 950. Panasonic ,3088
Spice Shop Installs Scanity Film Scanner,2012-02-14, The Spice Shop Bangkok Thailand is the first commercial post facility in Southeast Asia to install a Scanity film scanner from DFT Digital Film Technology. In addition to providing a full range of post production services for the local and international television and cinema commercial markets Spice Shop has recently unveiled it's newly renovated facility which enhances its service offerings to support feature film post production including on-set and post grading 3D DCI mastering as well as archive & restoration work.  The Scanity high-speed 4K/2K film scanner complements Spice Shop's existing and upgraded data infrastructure and supports the overall non-linear system of solutions that allows Spice Shop to have a smooth and efficient online and offline workflow. Scanity's scan-once approach to film scanning allows Spice Shop to generate all required content from one 2K digital negative scan. Whether the content is for offline work using QuickTime or MXF files or online work that requires uncompressed HD files with low-resolution proxies for editing the high speed and efficiency of Scanity means Spice Shop only has to handle the film once. The flexibility of the scan-once approach lets Spice Shop quickly access images across its fibre optic network to easily accommodate last minute editorial changes re-framing zooms etc. Since all files are available digitally at 2K high resolution there is no need to re-scan any frames. This unique workflow saves Spice Shop's clients time money and provides quality improvements throughout the entire post-production process. A typical 2K commercial workflow at Spice Shop involves using Scanity for 35 mm scanning to a central DVS storage network. A one light grade using a Filmlight Baselight 4 is executed while scans are still being performed in the background. After grading QuickTimes or MXF files are rendered for offline editing after which the final EDL is loaded into Baselight for conforming with the one light grade applied. The final grading is performed at 2K and then rendered at HD. At this stage the files are ready to be accessed by the visual effects and CGI department who use Autodesk Flame visual effects software and various CGI compositing and finishing tools including; Maya Houdini Nuke After Effects and 3DS Max to finalize the project. For digital cinema commercials Spice Shop utilizes a DVS Clipster for DCI mastering and final deliverables creation. Within a few days of installation we have already used Scanity for both local and international productions and we are highly satisfied with its user and workflow advantages and our clients were astounded at the improvement in picture quality says Matthew Szabo director of operations at Spice Shop. Our infrastructure and services have always been centered on flexibility and speed and Scanity stands alone when it comes to speed quality and overall system efficiency. In addition the fact that we also generate a 2K digital negative with Scanity provides our clients with a sense of security and peace of mind. In addition to our television and digital cinema commercial work we have a keen interest in the archive and restoration market says Pawadee Chantanom general manager and executive producer of Spice Shop. There is a strong cultural demand to protect and restore our social history and heritage and we already have the toolset required to support archive work. Now that we have Scanity our archive & restoration toolset is complete. We are making positive inroads into the Asia Pacific market and Spice Shop's purchase reaffirms the fact that Scanity is the fastest and most versatile film scanner available today says Stefan Kramper managing director of DFT Digital Film Technology. Whether Scanity is used for traditional post production film scanning or the archive market it serves many scanning applications and provides facilities with an all encompassing toolset.' DFT Digital Film Technology