During a gala evening at the Skirball Center in Los Angeles The Hollywood Post Alliance presented its Fourth Annual HPA Awards. The HPA Awards honor top behind-the-scenes talent working in motion pictures television and commercials as well as handing out special awards for Engineering Excellence Lifetime Achievement and the Charles S. Swartz Award. The special awards were announced earlier. The winners of the 2009 Hollywood Post Alliance Awards are: Outstanding Color Grading Feature Film in a DI Process Julie & Julia Steven J. Scott // EFilm Outstanding Color Grading - Television Yankee Stadium Tribute - Yogi's Bronx Siggy Ferstl // Company 3 Outstanding Color Grading - Commercial Pepsi Pass Stefan Sonnenfeld // Company 3 Outstanding Editing – Feature Film Slumdog Millionaire Chris Dickens A.C.E. Outstanding Editing- Television Breaking Bad – ABQ Lynne Willingham A.C.E. // Sony Pictures Entertainment Outstanding Editing- Commercial Jaguar XF/XK Neil Gust // Outside Editorial Outstanding Audio Post- Feature Film Watchmen Chris Jenkins Frank A. Montano Scott Hecker and Eric Norris // Universal Studios Sound Outstanding Audio Post- Television Fringe - Unleashed Thomas Harris Michael Ferdie Chris Reeves Mark Fleming and Tom Dahl // Walt Disney Studio Post Production Services Outstanding Audio Post- Commercial Honda Civic Grooves Nathan Dubin // Margarita Mix Santa Monica Outstanding Compositing – Feature Film Transformers: Revenge of the Fallen Nelson Sepulveda Ben O’Brien Matthew Brumit and Robert Hoffmeister // Industrial Light & Magic Outstanding Compositing – Television Krupp – Eine Deutsche Familie Thomas Tannenberger Olcun Tan Shane Cook and Josiah Howison // Gradient Effects Outstanding Compositing - Commercial Toyota Ninja Kittens Colin Renshaw // Animal Logic SPECIAL AWARDS The Charles S. Swartz Award for Outstanding Contribution in the Field of Post Production: Ben Burtt The Hollywood Post Alliance Lifetime Achievement Award Paul Haggar Engineering Excellence Award DVS Digital Video Systems Signiant S. two Corporation The HPA Awards was presented with support from Gold Sponsor: Autodesk; Silver Sponsors: Deluxe Panasonic and Thomson Grass Valley; and Bronze Sponsors: Avid Technology Cine-tal da Vinci Digital Vision Quantel Sony and Texas Instruments DLP Cinema. ,1400
Kinepolis Group Choose SmartJog Servers,2009-11-20,European exhibitor Kinepolis Group has selected SmartJog’s Digital Cinema Central Library Servers to use in all of its 23 theaters. Kinepolis will purchase and install the Digital Cinema Central Library Servers which are capable of storing large amount of content as well as receiving Digital Cinema Packages (DCPs) via satellite and fiber. “Kinepolis has been using the SmartJoj system a few years now to receive advertising content from Médiavision well as cinema trailers which are digitally sent via the SmartJog network to our Cinemas in France “ says Bob Claeys research and development director for Kinepolis Group. “Since we are actively rolling-out digital equipment in all of our Cinemas in France Belgium and Spain it was essential for us to find a solution capable of scalability in terms of storage and digital delivery.” Claeys says “Therefore we have opted for the SmartJog “all-in-one” solution of high-end storage and digital delivery solution. Since it’s already compatible with the equipment in our cinemas such as our Dolby servers the SmartJog Central Library allows us to store content received in our multiplexes without the need to add multiple reception and storage equipment. The flexibility of the SmartJog solution also lets us manage the delivery of our own promotional content to all of our cinemas in Europe seamlessly.” By the beginning of 2010 all of Kinepolis Group Cinemas will be equipped with the SmartJog 12 or 8 terabyte Central Library servers and will benefit from SmartJog’s fully managed digital delivery service. With this announcement SmartJog is proud to announce that it has now connected 537 screens in Europe. Kinepolis
http://corporate.kinepolis.com/ SmartJog
www.smartjog.com ,1402
Petrol Introduces Rain Cover for the Red One,2009-11-20,Petrol has introduced the Petrol PRC-Red-1 rain cover especially designed to provide environmental protection for a fully equipped Red One camera. Made mainly of clear polyurethane for maximum visibility the new transparent rain cover offers quick and easy access to all camera features. What’s more the manufacturer says it is roomy enough to enable working with the camera’s high-resolution Red LCD monitor on board. Petrol’s one-piece design makes the PRC-Red-1 easy to install while shooting. The viewfinder protector takes just seconds to attach thanks to a dependable waterproof zipper. The rigid front hood comes outfitted with a hot shoe connector that anchors and stabilizes the rain cover on the camera. The rain cover’s front section constructed of waterproof polypropylene board covers and protects the lens and matte box system. Plus atop the hood a six-inch ABS track allows for the addition of an on-camera light or wireless receiver. U.S. list price for the Petrol PRC-Red-1 transparent rain cover is $199. Petrol www.petrolbags.com ,1405
Reel Cinemas Opens Dubai’s Largest Cineplex,2009-11-20,The official opening of Reel Cinemas Dubai's largest cineplex in the Dubai Mall was marked by the United Arab Emirate's first digital screening of the much-awaited epic-film 2012 in Screen 22 the region's first and only THX-certified cinema hall. With the opening of all 22 screens Reel Cinemas should become the region's premier cinema destination. Among the 12 screens being added are Screen 22 the first cinema in the UAE to be certified according to THX engineering standards for superior audiovisual quality; The Picturehouse the region's first art house cinema for serious film fans; and four Platinum Movie Suites featuring their own private lounge 32 reclining leather chairs conveniently equipped with a side table and personalized butler service throughout the movie. Arif Amiri chief executive officer Emaar Retail says Reel Cinemas is aimed at providing movie-goers an exceptional cinema experience. We have introduced many firsts to the region in order to raise the bar on cinema quality including the first THX-certified cinema in Dubai and the first art house cinema hall. We have developed the cineplex to above-industry standards to offer a superior experience for our guests. This also complements the advances made by Dubai in developing a vibrant regional film industry with several talented filmmakers pursuing active careers in the industry. By offering the entire breadth of movies including dedicated art house films we are also strengthening film culture in the region. Suhaimi Rafdi chief executive officer Cathay Organization says At Reel Cinemas we screen a wide variety of movies from popular blockbusters to critically acclaimed films. Our aim is to integrate world-class facilities together with a broad choice of movies first-class services and great food and beverage offers to make a trip to the cinema a really memorable experience. We leverage on modern technology which is reflected in our decision to bring digital cinema to the UAE. We are proud to be the first to offer the opportunity to see an epic movie like 2012 in Digital with Dolby Digital surround sound offering patrons crisper visuals better audio and a more immersive entertainment experience. Cathay Cineplexes www.cathay.com.sg ,1406
Screenvision Renews Agreement with Hogan Communications,2009-11-20, Screenvision has renewed its long-term agreement with Hogan Communications a media and marketing company targeting the college market. Under the agreement Screenvision will continue to represent national and regional cinema advertising sales for Hogan’s 397 college campus-based screens while Hogan will continue to produce and distribute its cinema preshow Preview Theater in which the Screenvision-sold ads will appear. Screenvision will also continue to have the rights to conduct certain on-campus promotional activities on behalf of its advertisers including advance screenings product sampling tabling and product demonstration activities and consumer research. “Our continued relationship with Hogan Communications enables Screenvision to have a strong presence in the college arena ” says Darryl Schaffer executive vice president exhibitor relations Screenvision. “This enables us to reach our key demo young adults 18 to 24 in a very robust way.” “The Screenvision sales force is best placed to represent our circuit of university theatres both from a national ad sales perspective and niche marketing perspective ” says Michael Hogan Hogan Communications. “Because of this we’re thrilled to maintain our partnership and look forward to watching as national advertisers continue to focus on reaching out to our community of consumers – college students.”
The college network’s 397 cinema screens are distributed across 199 cities nationwide and include coverage in top 10 DMAs such as New York Los Angeles Chicago Boston and Philadelphia.
Screenvision www.screenvision.com ,1407
Barco and GDC Partner on Integrated Media Block for Digital Cinema ,2009-12-10, Barco has announced that GDC's integrated media block can be seamlessly integrated into its cinema projectors. In recent years long-standing partners GDC and Barco have worked together on some 1000 digital conversions in China. We are very happy to continue our strong partnership with Barco and to offer the digital cinema industry a total solution with an integrated media block says Dr. Man-Nang Chong founder and CEO of GDC Technology. The GDC media block has been designed to meet the DCI v1.2 specification media block in projector configuration and supports 12-bit X'Y'Z' uncompressed playback for resolutions up to 4K. It further features lesser perimeter of security for content and keys compared to an external media server solution and requires less cabling between the media block and storage server.
Frank Christiaens president of Barco for Greater China Region says With the IMB integrated in a Barco projector customers are sure of a compact future-proof digital projection solution based on Texas Instruments' enhanced DLP Cinema technology. We truly value our long-standing partnership with GDC and the integration of the GDC media block into our projectors confirms our joint commitment to the Chinese marketplace. Barco www.barco.com ,1430
Entries being accepted by Canada’s International Film Festival,2009-12-10,The Canada International Film Festival is now accepting entries in all categories for the upcoming 2010 Festival. The festival accepts both domestic and international submissions. The Canada International Film Festival brings the best of world cinema to Canada and plays an important role in maintaining and further enriching its film culture. Held each year in the beautiful and cosmopolitan city of Vancouver British Columbia the festival brings the very best of world cinema to Canada from over 90 countries around the world. The 2010 Canada International Film Festival will be held February 19-21. This year's Festival Program will showcase a wide variety of North American and international feature films to shorts documentaries music videos animations experimental films student films and a screenplay competition. In addition to the juried awards the festival also presents an annual Audience Award to the film with the highest rating as determined by festival audiences. Cash prizes are awarded for the Grand Jury Prize presented to the best film in competition among all categories and the top three finalists in the Write Brothers Screenplay Competition. In addition winners will receive beautiful awards products and services from our sponsors. Canada Film Festival www.canadafilmfestival.com ,1433
The Movie Palace Installs Christie Projectors in its Newest Multiplex,2009-12-10, The Movie Palace theatre in Casper Wyoming has selected Christie digital cinema projectors for its new all-digital Studio City Stadium 10 a 10-screen classic multiplex theatre. It is the second Movie Palace theatre in Casper to use Christie digital projectors. The company has also installed the Christie CP2000 series projectors in its other locations in Cheyenne and Rock Springs Wyoming. We chose Christie based on three key criteria: reliability brightness and customer service. Since we built our reputation on presenting high quality images on the screen and providing the best service in the community we depend on the flawless performance and customer care that Christie products and their staff provide us says Randy Pryde president of Movie Palace. Pryde says that the Movie Palace plans to equip all their locations with Christie projectors: Offering the brightest and most reliable products in the industry Christie greatly enhances our customers’ movie viewing experience. According to Pryde Movie Palace conducted extensive research on the older classic theatres and then merged the glamour and architecture of these legendary movie theatres with the ultimate in digital projection technology and state-of-the-art sound systems. Andrew Houck the manager of the new Studio City Stadium 10 says We installed six Christie CP2000-ZX projectors three Christie CP2000-M projectors and one Christie CP2000-SB projector in our multiplex because they not only project stunning images on the screen they also deliver the most cost-effective digital solutions in the industry. As well Christie continues to set the standards for 3D in both resolution and brightness. We anticipate that we will be utilizing these digital projectors in the future for concerts sporting events and corporate activities. Claco Equipment and Services Inc. one of the region’s leading cinema dealers was responsible for the installation. According to Vince Butler digital technician and installations manager at Claco Christie’s strong reputation for superior service before and after the sale and the lowest cost of ownership were important factors in their decision to install Christie projectors. In addition to its world-class customer support Christie equipment is both top notch and among the most reliable in the industry making our job much easier says Butler. Movie Palace has had excellent experience in the past using other Christie equipment such as Christie consoles automations and 35mm lamp houses and have found them extremely reliable. Digital cinema is the next frontier and we look forward to working with Christie to deliver the most visually exciting movie presentations in the industry. Christie www.christiedigital.com ,1434
Cinemark Opens Five New Cinemark XD Theatres,2009-12-10,In the face of its pending lawsuits with Imax Cinemark Holdings has announced the opening of five new Cinemark XD Extreme Digital Cinema auditoriums in Union City California; Tucson Arizona; Albuquerque New Mexico; Daly City California; and Hanover Maryland. The new Cinemark XD auditoriums opened in time to show The Twilight Saga: New Moon. Cinemark has transformed one auditorium at each location. The new auditoriums offer large wall-to-wall and ceiling-to-floor screens plush seating and completely redesigned viewing environments. In addition they feature custom JBL Sound Systems that contain more than 30 speakers that produce crisp clear digital sound and digital images delivered by the use of Doremi servers and Barco digital projectors with a light output of 30 000 lumens. “These Cinemark XD Extreme Digital Cinema auditoriums engage all of your senses and pull you into the movie ” says Alan Stock Cinemark’s chief executive officer. “We have now opened fourteen XD auditoriums and plan to add one more before the end of the year. We show the newest and biggest movies every week in these auditoriums including 2D and Real D 3D pictures.” Cinemark www.cinemark.com ,1435
Deluxe Installs MasterImage 3D in its Post-Production Suite,2009-12-10,MasterImage 3D has announced that Deluxe Digital Cinema a subsidiary of Deluxe Entertainment Services Group has selected their 3D imaging solution MI-2100 for use in their 3D post-production facility and screening room. The system will be used for quality control and final approval purposes during all phases of MasterImage 3D content production. The MI-2100 is simple to install and maintain and can be used with any DLP projection system. The triple flash MI-2100 system does not require ghostbusting to deliver a fully immersive stereoscopic viewing experience. “Deluxe is a leading digital cinema service provider and Deluxe’s selection of the MI-2100 demonstrates expanding acceptance of MasterImage technology in theaters and the creative community ” says Peter Koplik executive vice president sales and marketing at MasterImage 3D LLC. “The MasterImage solution streamlines production and delivers the clearest and most realistic 3D image available with a single projector set-up.” “Deluxe Digital Cinema is working on more stereoscopic content than ever ” says Jim Whittlesey Deluxe’s vice president of Digital Cinema Technologies. “Because Deluxe is committed to providing our clientele with the best possible imaging technology during every step of the production process the MI-2100 was the next logical 3D system to install in our screening room. The image quality is impressive. “ MasterImage 3D www.masterimage3d.com ,1437
Doremi Continues Partnership with China’s Time Antaeus Media Group,2009-12-10, Doremi Cinema has announced progress in its partnership with Time Antaeus Media Group in China for its major digital cinema deployment in Mainland China. The 1000 screen commitment started late last year. The companies expect the deployment to be completed in July 2010.
As part of the arrangement Time Antaeus' Montage CDCS2000 D-Cinema Server manufactured by Doremi is being deployed as part of their digital cinema solution. There are currently over 300 screens equipped with Time Antaeus’ Montage CDCS2000 with an additional 400 screens scheduled for installation. The newest 400 screens were secured by Time Antaeus and CFG—Antaeus Digital Cinema Investment which is the Joint Venture of Time Antaeus and China Film Group and will be installed by March 2010.
“After extensive review we selected Doremi as our manufacturer because of their continued performance as distinguished leaders in digital server technology excellent service and outstanding reputation in the digital cinema industry ” says Zhang Baoquan chairman of the board for Time Antaeus Media Group. “We are delighted to be working with such a respected company.” “China has always been an exciting market for us and we see its early adoption of digital cinema as another measurement of the industry's global growth ” says Michael Archer vice president of Doremi Cinema. “Time Antaeus has an outstanding reputation and we are thrilled to partner with them on this important endeavor.” ,1438
Fujinon Introduces New PL Mount Zoom Lens,2009-12-10,Fujinon has introduced the new 75-400mm T2.8-T3.9 PL mount zoom lens. It has the model number HK5.3x75 and is the second lens in the series. “The 75-400mm offers an impressive telephoto focal range fast T-stops and unsurpassed optical performance ” says Hank Hayashi president and CEO Fujinon. “We have received great feedback on the new series from rental house facilities directors of photography camera operators and assistants. Fujinon listens closely to suggestions from the industry. It has enabled us to build better lenses.” Fujinon's PL zoom lenses are designed to maximize performance on either film or digital cinematography cameras offering speeds and focal ranges not available in a zoom family before. With unprecedented color-matched optical performance all four zoom lenses share common (136mm) front barrel diameter consistent gear position and production-friendly size/mass. ,1440
Hoyts Theatres Convert to Digital with HP Servers and Storage,2009-12-10,Australian exhibitor Hoyts will convert its cinemas across the country to digital projection using server and storage infrastructure from HP and assisted by a HP business partner and networking integrator. Server specialist Daraco Services and networking specialist eintellego will supervise the installations. Full deployment will start early next year. It is expected 32 cinema complexes will go digital under the project covering over 300 screens. HP servers and storage solutions will be used to run theatre management systems centrally and at each site. The systems are used to control multiple screenings at once. Specifically HP ProLiant DL380 servers running an SQL database and specialist applications along with HP StorageWorks X1600 network storage system and HP StorageWorks modular smart array will be installed into each of the cinema complexes. Content will be stored in a library management system housed on the HP modular smart array. Large sites will require 14 TB of usable storage to store the content. The theatre management system server will ingest and store content then process schedule and manage the transfer of content to individual auditorium servers for screening according to Hoyts group technology director Adam Wrightson. The servers will be required to store feature films trailers and advertising with features having average file sizes in excess of 250 GB. Because these servers may be ingesting several pieces of content at the same time strong processing power fast file sharing and reliability are a critical requirement. The theatre management system will also be connected to an HP ProCurve 2901al switch via a 10 Gbps connection. Each auditorium has its own network running on HP 2510 switches Wrightson says. HP will also be supplying desktops printers and dedicated back-up server solutions for each of the sites. Hoyts will first convert a flagship site in Sydney to test and evaluate the theatre management system and HP infrastructure components in a production environment the company says. ,1441
Reliance In-Three Partner on 2D-3D Conversion Facility in India,2009-12-10,Reliance MediaWorks has partnered with In-Three to establish what the companies say will be the world’s largest facility dedicated to the conversion of 2D films and videos into 3D based in India. The strategic alliance is being established to address the rapidly growing demand by Hollywood studios and other global content creators for converting both new films shot in 2D as well as older legacy titles to be released in cinemas and on home platforms in stereoscopic 3D. The partnership is expected to be able to cater to 15-25 feature films projects per year and will initially involve hundreds and later thousands of dedicated staff. Work on the first joint title will commence beginning of 2010 with several projects planned for a start in the first half of 2010. The alliance was made possible by the creation of Reliance’s previously announced image BPO operation in India. In-Three’s CEO Neil Feldman says “Our unique process of converting flat 2D films into compelling stereoscopic 3D has been proven technically artistically and commercially. In order to meet the full slate of films that In-Three has lined up for 2010 and beyond we sought out the best possible international partner. One that could provide the level of quality our studio clients expect which made Reliance MediaWorks the natural choice for us.” Anil Arjun CEO Reliance MediaWorks says “We are very excited and bullish on the 3D entertainment market. This partnership is a joint effort that combines the best of technology and artistic talent from Hollywood with the most advanced skills and large-scale image processing capabilities in India. Reliance MediaWorks already does image enhancement and restoration for the leading Hollywood studios and the expansion of services into 2D-to-3D conversion was a natural next step for the company.” In-Three http://www.In-Three.com Reliance MediaWorks www.reliancemediaworks.com ,1443
Otto Nemenz Acquires Fujinon Zoom Lenses,2009-12-10, Los Angeles rental company Otto Nemenz International has updated its lens inventory to include new 18-85mm T2.0 zoom lenses from Fujinon with additional lens purchases on the horizon. It is the first facility in North America to offer Fujinon PL lenses for rental. Otto Nemenz International recently jumped into digital acquisition rental with the purchase of 10 Sony F35 cameras. This is in conjunction with its large active inventory of film cameras. Nemenz is looking to meet the imaging demands of today and into the future with the new Fujinon lenses. Top lens performance is critical to my company's reputation and success says CEO Otto Nemenz. As far as performance goes these are the best zoom lenses we have tested. They have already been used very successfully on both digital and film 35mm productions by some of our top clients. The 18-85mm T2.0 is the first model available from Fujinon's new family of PL series zooms designed for the latest digital and film PL mount cameras. The other three zooms will be available in early 2010. Fujinon's PL series zooms offer focal ranges covering 14.5 to 400mm including: 14.5-45mm T2.0; 18-85mm T2.0; 24-180mm T2.6; 75-400mm T2.8-T3.9. The PL series feature the fastest T speeds available in a family of zooms with unprecedented color matched 4k optical performance. All four zooms are of similar in size and weight. Consistent gear placement and (136mm) front barrel diameters enable quick and efficient lens changes. Pictured left to right: Alex Wengert general manager; Ryan Sheridan digital engineering; Otto Nemenz founder and president; Fritz Heinzle marketing manager. Fujinon www.fujinon.com/DigitalCinema ,1444
PERA Council 2010 Election Results Announced,2009-12-10,The Entertainment Services and Technology Association has announced the election results for the 2010 PERA Council. The PERA Council within ESTA serves the needs of the equipment rental market for motion picture television and commercial production. The Council continues the work of PERA for camera accessories grip and lighting rental companies and manufacturers. Members of the Council are elected by the PERA Council Affiliates and are responsible for the development and implementation of programs and services for members in these market segments. Elected to the Council were: Carly Barber Illumination Dynamics - San Fernando California Daniel Gurzi Abel Cine Tech - New York New York Greg Meyers Cinequipt Inc. - Minneapolis Minnesota JR Reid JR Lighting - Las Vegas Nevada John Rule Rule | Boston Camera - Boston Massachusetts Mark Tye Citation Support Inc. - Nashville Tennessee Mark Wofford Production Consultants & Equipment - Atlanta Georgia These individuals join existing Council Members Leigh Blicher of Videofax in San Francisco California; Tom Fletcher of Fletcher Camera & Lenses in Chicago Illinois; and Marc Stephens of MPS Studios in Dallas Texas. ESTA and the members of the PERA Council would like to extend their sincere thanks to retiring Council Members Mal Connett of The Camera Department Pat Patin of Texcam Lee Utterbach of Lee Utterbach Cameras and Diane Woods of David J. Woods Productions for their dedicated work on the former PERA Board of Directors and their assistance with the transition to ESTA. PERA Council www.esta.org/pera/pera.htm ,1445
Petrol Introduces Camera Bag for the Red One,2009-12-10, Petrol has introduced the Petrol Red Bag PRB-15 a camera carrier specifically designed to transport and protect the Red One digital camera. The Red Bag’s dual directional upside down zippers open smoothly for quick and easy access to the interior. Inside a removable upper tray with detachable dividers provides a place to stash the Red One’s essential accessories. Rugged nylon handgrips on either side of the tray allow for easy removal and carrying. Underneath the Red One fits comfortably in the bag’s lower padded compartment. When a panel is removed from the upper accessory tray the camera can be stored without disturbing the viewfinder. An adjustable nylon strap holds the camera firmly in place. Four detachable padded dividers help secure the compartment’s contents and form pockets for additional storage. The PRB-15 comes equipped with a separate fabric sleeve to hold the Red One’s steel support rods. With the rods inside the sleeve stores neatly against the lower chamber’s middle divider. An external envelope-style pocket keeps important documents close at hand. Additional features include an internal envelope-style pocket of clear plastic mesh Petrol’s built-in smooth-gliding wheel and tote assembly Griplock interlocking top carrying handle and a padded shoulder strap. Petrol’s exclusive thermoformed panels of cold-molded laminate and injection-molded polypropylene legs safeguard the bottom of the bag from dirt or water. The exterior is constructed of black ballistic nylon and Cordura. U.S. list price for the new Petrol Red Bag (PRB-15) is $499. Normal.dotm 0 0 1 24 137 Digital Cinema Report 1 1 168 12.256 0 false 18 pt 18 pt 0 0 false false false
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Quick Film Budget Launches Website,2009-12-10,Quick Film Budget launched its website which is designed to enable writers directors producers and filmmakers to create professional customized film budgets for their scripts and projects by themselves. Whether the script or project is a low budget film or a blockbuster movie studios and investors will always ask for a budget. Since filmmakers do not always have the money to pay at least one thousand dollars to an expensive Unit Production Manager or Line Producer nor do they always have the luxury to wait a month for delivery of the budget automates the process by asking some key questions like picking the genre and inputting the final desired budget total to instantly deliver a professional customized film budget for $149. Nolan Lebovitz and Adam Lebovitz created Quick Film Budget and the website using their experience in the film industry and their knowledge of finance and calculus to derive original mathematical algorithms that they say best define the relationships between film budget accounts genres and the total budget desired. Prior to creating the website USC Film School graduate Nolan Lebovitz wrote and directed the Sony Pictures crime thriller Tortured starring Laurence Fishburne Cole Hauser and James Cromwell. Sony Pictures released Tortured in 2008. Adam Lebovitz who has a Masters from the USC Peter Stark Producing Program and a degree in Finance from the University of Pennsylvania Wharton School of Business produced Tortured as well as the Lions Gate horror film Unrest. Lions Gate released Unrest in 2006. In 2009 Nolan and Adam wrote a digital series called Bloody Knuckles which was bought by Fox Television Studios. The Chicago-born brothers created Quick Film Budget as a new media company to provide filmmakers with tools to help sell their projects to studios and film investors and ultimately get work. Quick Film Budget www.quickfilmbudget.com ,1447
Arts Alliance Media Signs Deal with Reel Cinemas,2009-12-10,Arts Alliance Media has signed an agreement with Reel Cinemas to digitize Reel’s entire circuit in the UK. The Virtual Print Fee based deal covers all 60 of Reel’s screens throughout the country across 15 sites as well as 60 affiliated screens programmed by Reel's programmer Steve Reynolds. The installation of digital equipment is scheduled to begin immediately. In addition the deal also covers the installation of 3D in 20 screens meaning there will be at least one 3D screen in each site to take advantage of next year’s slate of around 15 3D releases. Arts Alliance Media will also be providing satellite systems for each of Reel’s 15 sites in conjunction with satellite partner Arqiva Satellite and Media. This will allow the cinemas to show live alternative content such as opera sports and music concerts and also to receive feature and trailer content via satellite. AAM’s Digital Cinema Network Software will also be deployed allowing sites to efficiently manage their digital content and equipment and for AAM to monitor and maintain the network and equipment remotely. Arts Alliance Media CEO Howard Kiedaisch says of the deal “We’re delighted to announce this deal with Reel Cinemas. The decision to go digital and 3D means that their sites will be able to offer all the benefits of digital to their patrons across the UK. The addition of another cinema chain to AAM’s rollout is a great vote of confidence as the European conversion to digital really begins to build momentum.” Reel Cinemas managing director KC Suri says “Reel Cinemas is very happy to be entering into association with Arts Alliance Media and we’re looking forward to this next stage in our ambitious expansion plans. We’re committed to giving all our customers the ultimate cinema experience and to be able to now offer them cutting edge digital satellite and 3D is great for us and great for the communities we’re based in.” ,1448
Screenvision Renews Agreement with Hogan Communications,2009-12-10, Screenvision has renewed its long-term agreement with Hogan Communications a media and marketing company targeting the college market. Under the agreement Screenvision will continue to represent national and regional cinema advertising sales for Hogan’s 397 college campus-based screens while Hogan will continue to produce and distribute its cinema preshow “Preview Theater ” in which the Screenvision-sold ads will appear. Screenvision will also continue to have the rights to conduct certain on-campus promotional activities on behalf of its advertisers including advance screenings product sampling tabling and product demonstration activities and consumer research.
“Our continued relationship with Hogan Communications enables Screenvision to have a strong presence in the college arena ” says Darryl Schaffer executive vice president exhibitor relations Screenvision. “This enables us to reach our key demo young adults 18 to 24 in a very robust way.”
“The Screenvision sales force is best placed to represent our circuit of university theatres both from a national ad sales perspective and niche marketing perspective ” says Michael Hogan Hogan Communications. “Because of this we’re thrilled to maintain our partnership and look forward to watching as national advertisers continue to focus on reaching out to our community of consumers – college students.”
The college network’s 397 cinema screens are distributed across 199 cities nationwide and include coverage in top 10 DMAs such as New York Los Angeles Chicago Boston and Philadelphia.
Screenvision http://www.screenvision.com ,1449
The Warrior Makes Use of the MAX Menace,2009-12-10, Principal photography has just finished on the 2010 Lionsgate release Warrior starring Nick Nolte. The production made extensive use of MSE’s monster light mover MAX Menace. One of the key sequences took place inside a Pittsburg hotel room. “Cinematographer Masanobu Takyanagi needed to get ‘a lot of light’ into the room ” says Key Grip John Janusek. “It was either an elaborate truss and motor rig that was 2500 miles away in Los Angeles or the MAX Menace. Once I talked to Matthews’ technical folks and Key Grip Richard Mall who invented MAX they assured me that MAX could handle the weight in negative configuration off the top of the hotel. Nine out of 10 times you would think to use that tool to get a light into a higher position. I was just thinking ‘laterally’ knowing that most of the gear on my truck has more than one usage.” “However when we tested the idea – aiming MAX over and DOWN we got what we needed ” he says. “Not only did we get the light in the windows we saved production time rigging and lots of money in shipping extensive gear. Now when I look at the MAX series of lighting support fixtures I think out-of-the-box – light high lateral and low. MAX can do just about anything.”
MAX allows placement of almost any light anywhere on a set and in places where lifts are restricted. MAX supports a 75-pound light up to 17.5 feet on the horizontal and over 20 feet in elevation. With the addition of eight feet MAX has a capacity of 175 pounds. MAX’s horizontal plane can be adjusted from seven to 10 feet. MAX can be positioned parallel up to a 10 foot ceiling and at a height of six feet six inches goes through doorways. Easily moveable at full extension on level surfaces MAX is fast and easy to set up and tear down. Designs and specifications are subject to change.
The MAX series of light movers is offered exclusively through Matthews Studio Equipment. ,1452
Avatar World Premiere held at London’s Empire Leicester Square Theatre,2009-12-11, London’s Empire Leicester Square held the world premiere of the James Cameron movie Avatar on Thursday December 10 using Dolby’s 3D system and Barco projector. An invited audience of more than 1 300 guests filled the Empire Leicester Square which will act as the lead theatre for this much-anticipated premiere.
“Empire Leicester Square boasts one of the largest screens in the UK which is why it regularly plays host to world premieres ” says Julian Pinn business development manager production services group Dolby Laboratories. “Avatar promises to deliver state-of-the-art 3D special effects to audiences around the world. To ensure every seat in Empire Leicester Square enjoys the fully immersing 3D experience Dolby Production Services worked with Barco Empire and Twentieth Century Fox to ensure the best combination of brightness image sharpness and color accuracy to display this spectacular new movie as director James Cameron intended.”
To meet Cameron's exacting standards for Avatar's premiere Dolby and Barco worked to provide a customized solution comprising two Dolby 3D large-screen systems featuring four Barco DP-3000 ultra bright digital cinema projectors. Using dual stacked Barco projectors for the left eye and an additional dual stack for the right eye each set features Dolby's 3D color filter technology. Combined with Dolby's lightweight passive 3D glasses - designed for repeated use to reduce the cost per view for exhibitors - Dolby and Barco's technologies deliver a memorable and mesmerizing 3D experience even on the biggest screens. “Avatar is one of the most keenly anticipated movies of the year ” says Tim Sinnaeve sales director EMEA digital cinema business Barco. “So we are delighted to be working with Dolby to meet James Cameron's meticulous requirements which will ensure an outstanding 3D screening for everyone attending this important world premiere at the Empire.” To see Avatar in Dolby 3D near you visit: www.dolby.com/consumer/motion_picture/ddcinemas/index.html Barco www.barco.com Dolby Laboratories www.dolby.com ,1456
Pacific ArcLight Installs 17 NEC Projectors in Time for Avatar Premiere,2009-12-11, Pacific ArcLight in Los Angeles has installed 17 NEC 3D digital cinema projectors in preparation for the premiere of Avatar December 18th.
“We found the NEC NC2500S-A projectors to be a great fit for us especially with the new higher light output for amazing picture quality ” says Joe Miraglia Pacific’s director of design construction and facilities. “We’re very excited to be 100 percent ready to bring Avatar to our audiences and in fact we are premiering the film at midnight on December 17 at ArcLight Hollywood Cinerama Dome as well as ArcLight Sherman Oaks.” Pacific Theatres and ArcLight Cinemas have installed NEC digital cinema projectors in 10 locations throughout Los Angeles including ArcLight Hollywood which has 825 seats and a screen size of 28 feet by 86 feet. A major reason for the projector upgrade was to show 3D feature movies although the theaters will use the projectors to show many popular movies in standard format too. ArcLight Hollywood ArcLight Sherman Oaks Northridge Fashion Center and Glendale Stadium 16 all have NEC projectors with 3D capabilities in the largest auditoriums of each individual complex. “Audience expectations are pretty high these days. There are great 3D movies coming out and NEC digital cinema projectors are transforming the audience experience ” says Jim Reisteter general manager digital cinema division NEC Display Solutions. “Our customer Pacific ArcLight is sending a message that they are a great destination for 3D releases and this translates to strong box office performance.” NEC www.necdisplay.com/3Dpromo ,1457
Ballantyne Strong to Open Digital Cinema Office in Taiwan ,2010-01-13,In an effort to expand its Asian distribution rights into Taiwan for the NEC line of digital cinema projectors Ballantyne Strong plans to open an office in Taiwan in the first half of 2010. The new office will provide sales training service and support for all digital cinema products sold in the territory. Ballantyne’s Asian distribution territory now includes Indonesia Hong Kong Malaysia The People’s Republic of China Singapore and Taiwan. Ballantyne president and CEO John P. Wilmers says “Taiwan is an important extension of our digital projector footprint in Asia that also provides cross-selling opportunities for other products and services. Taiwan has approximately 500-screens roughly 90 percent of which have yet to be converted to digital technology. We look forward to working with leading exhibition companies in the region and serving their digital cinema needs.” Ballantyne also announced that its cinema screen subsidiary Strong/MDI Screen Systems has earned International Organization for Standardization ISO 9001:2008 certification for its quality management standards and procedures. The ISO is a network of the national standards institutes of 162 countries with a Central Secretariat in Geneva Switzerland. Wilmers says “We are proud to announce our cinema screen division’s ISO 9001 certification. Strong/MDI has been working toward this quality standard for the past 12 months. The certification is an important milestone that provides a globally respected acknowledgement of Strong/MDI’s quality standards which should further support its worldwide sales and marketing efforts.” Ballantyne Strong www.ballantyne-strong.com ,1473
Sol Negrin to Receive ASC Presidents Award,2010-01-13,Sol Negrin will receive the Presidents Award from the American Society of Cinematographers during the 24th Annual ASC Outstanding Achievement Awards. The celebration will be held at the Hyatt Regency Century Plaza Hotel on February 27th. Sol Negrin has not only made an impact with his six-decade career as a cinematographer says ASC president Michael Goi but his constant efforts to organize industry events and teach the next generation of image makers their craft is selfless and without compare. Negrin earned five Emmy nominations three for episodes of the television series Kojak (1975 1976 1977) one for the television movie The Last Tenant (1978) and one for an episode of the series Baker's Dozen (1982). His artful cinematography in television commercials earned four CLIO Awards including the iconic American Tourister Bouncing Suitcase campaign during the early 1970s. Some of Negrin's other television credits as a director of photography include episodes of the classic series McCloud The Lucie Arnaz Show The White Shadow St. Elsewhere Rhoda Lime Street Eischied and Our Family Honor as well as the telefilms Best of Friends Dempsey And Your Name is Jonah and Women at West Point. His feature film credits include The Concert for Bangladesh Amazing Grace (1974) Proof of the Man and Parades. He also contributed additional cinematography to many feature films which included Crazy Joe Superman Coming to America King Kong (1976) Jaws 2 Elodia (A Forgotten Tune for the Flute) and Robocop. Sol's work touched millions of people says ASC awards committee chairman Richard Crudo. His peers in ASC are uniquely qualified to recognize and applaud his mastery of the art and craft of cinematography. His dedication to educating the next generation exemplifies the ASC's motto: Loyalty progress artistry. Negrin was born in New York City in 1929 and graduated from the High School of Industrial Arts (now the High School of Art and Design) where he majored in art photography and photo science. He studied cinematography at City College Film Institute and took courses at the RCA Institute though the International Photographers Guild. At first photography was just a hobby says Negrin. I was hoping to be a naval architect but my math was not up to par. While in school Negrin took a part-time job that later became a full-time position with a commercial/industrial film company called Hartley Productions. He worked as an assistant cameraman from 1948 to 1960. Negrin subsequently stepped up to camera operator on the mainstream television series such as The Naked City The Defenders and The Patty Duke Show; and feature films ranging from Frankenstein Meets the Spacemonster to Where's Poppa? and Across 110th Street. I enjoyed collaborating closely with directors to achieve a mutual understanding about lighting and composition in order to make their films as interesting and exciting as possible says Negrin. Satisfaction came from knowing I had done my very best. ASC www.theasc.com ,1474
Band Pro Introduces “Mystery Prime” Lenses,2010-01-13,At the One World on HD event Band Pro Film and Digital introduced a new brand of ultra-high performance PL mount prime lenses designed to deliver optical performance for true 4K imaging and beyond. After three years of design and prototyping the new T1.4 lenses still code named “Mystery Primes” within Band Pro are fully developed and three focal lengths were demonstrated on the F35 camera at the event last month. The series of prime lenses available exclusively worldwide from Band Pro will eventually total 15 different focal lengths ranging from 12mm to 150mm. Delivery of production models of eight of the lenses will begin in early summer of 2010. “A unique use of aspheric technology and cutting-edge mechanical cine lens design provides the ‘Mystery Primes’ with unmatched evenness of illumination across the entire 35mm frame and into the corners with no discernable breathing ” says Michael Bravin chief technologist of Band Pro. “Suppression of color fringing into the farthest corners of the frame is superior to any lenses I have ever seen.” The entire set of “Mystery Primes” features unified distance focus scales common size and location of focus and iris rings and a 95mm threaded (for filters) lens front--all allowing quick interchange of lenses in a busy production environment. Another unique feature is an integrated threaded net ring in the rear of the PL mount. Designed to be light in weight yet rugged on the set the mount and lens barrel are manufactured using lightweight high strength titanium materials. For example a typical Mystery Prime weighs just three pounds (1.4 kilograms). The core set of “Mystery Primes” which will start delivering by June includes 16mm 18mm 21mm 25mm 35mm 40mm 50mm 65mm 75mm and 100mm lenses. Additional focal lengths will be delivered in a second phase. The first 25 sets of lenses will be delivered to Otto Nemenz International. Their experienced team provided invaluable user input from the beginning of the design process. Band Pro Film and Digital www.bandpro.com ,1475
Blue Ocean Film Festival moves to the Monterey Peninsula,2010-01-13, The Blue Ocean Film Festival & Conservation Summit will relocate its global ocean-focused event to the Monterey Peninsula beginning in 2010. The initial Monterey festival – with the aquarium as the presenting sponsor – is planned for August 25-29. Blue’s international film competition call for submissions will open in mid-January and film festival passes for the inaugural Monterey event will go on sale in late February. “With the world-famous Monterey Bay Aquarium and the many research and conservation organizations based here the Monterey Peninsula is truly an epicenter of all things ocean ” says Debbie Kinder executive director of the festival. “Given our mission ‘to use the power of film and visual media to help protect the oceans and the life within ’ and our vision for the industry conference to empower and inspire ocean professionals to create great films and media that inspire better ocean stewardship we found the Monterey Bay area to be an ideal place to base our international event and outreach efforts.” Aquarium executive director Julie Packard welcomed the decision to move the festival to Monterey. “Films play a key role in connecting people everywhere with the beauty and wonder of the oceans ” Packard says. “Done well they can compel people to care more then do more to protect the oceans. The Monterey Bay Aquarium’s expertise is in exhibiting living creatures but some stories are best told through film. We’re very pleased to support Blue as the festival’s presenting sponsor. It’s an event we feel is both important and needed.” Since its debut last June Blue has been recognized for bringing together the world’s greatest collection of ocean films esteemed filmmakers and marine experts. It is also the first event of its kind to combine an international ocean film competition professional underwater filmmakers’ and photographers’ conference and high-profile conservation presentations along with community educational outreach and entertainment activities. “What a beautiful platform and one that takes us one step closer to nurturing our ocean planet back to health ” says Fabien Cousteau an ocean explorer environmentalist and member of the festival advisory board. The move to the Monterey Peninsula comes after the successful launch of the inaugural Blue festival in Savannah Georgia in June and invitations to make a permanent home on the West Coast from Dan Basta director of the National Marine Sanctuary system Bill Douros West Coast regional director for the National Marine Sanctuaries and Pacific Grove-based filmmaker Bob Talbot Kinder says. After several scouting trips and encouraging meetings with the aquarium and community leaders including Ted Balestreri of the Cannery Row Company organizers decided to make the move. “We have been made to feel very welcome here and the commitment of the Monterey Bay Aquarium to come on board as our Presenting Sponsor was a key factor in our making the final decision to move our event ” Kinder says. Additional community support has come from the Cannery Row Company which has stepped up in a leadership capacity as a Gold Sponsor the Code Blue Charitable Foundation the Monterey Bay National Marine Sanctuaries Lisa Coscino Gallery Kate Miller of Marine Mammal Conservation Through the Arts as well as support from the National Marine Sanctuary Foundation. In addition to the comprehensive industry conference Blue will offer a five-day agenda for community participation in fun activities: the screening of 50-plus award-winning ocean films exhibits of acclaimed underwater photography and visual arts opportunities to hear from renowned filmmakers photographers ocean conservation advocates policy makers and celebrities along with VIP parties and entertaining activities for the whole family. “While Blue is moving to the West Coast we haven’t forgotten the efforts and support of the Savannah community ” says Charles Kinder of Make A Difference Media the chief financial officer of Blue. “Given the uncertain economic environment of 2009 we were delighted with the success of Blue this past June in Savannah and we will remain engaged in that community through our Blue on Tour outreach initiatives. We will also continue to work with the Gray’s Reef Ocean Film Festival.” Blue: A Global Ocean Film Festival & Conservation Summit www.bluefilmfest.com ,1476
CBG Member R/C Theatres Signs up for Cinedigm’s Phase 2 Program,2010-01-13, The Maryland-based cinema chain R/C Theatres has signed an agreement to participate in Cinedigm’s Phase 2 digital cinema deployment program. R/C Theatres is the first National Association of Theatre Owners Cinema Buying Group member to commit to the program. The CBG represents more than 600 members that collectively have over 6 000 screens. R/C selected Cinedigm’s Exhibitor-Buyer financing plan which means the exhibitor will purchase its own equipment and Cinedigm will administer the systems under its Virtual Print Fee agreements with all major studios for a ten-year term for 68 screens at six locations.
In Phase 2 Cinedigm has created an Exhibitor-Buyer financing option for exhibitors. When exhibitors participate they select and purchase their own equipment and Cinedigm manages the reporting billing and collection of VPFs from movie distributors receiving a fee for doing so. R/C will install Cinedigm-certified fully networked digital cinema systems. Cinedigm and the CBG also have system supply and service agreements with Barco and NEC.
John Fithian president of the National Association of Theatre Owners says “Wayne Anderson the former managing director of the CBG and the CBG team who selected Cinedigm as its integrator had confidence in Cinedigm’s technology equipment vendor relationships and ability to bring appropriate financing options to the table. Wayne’s tireless work with Cinedigm on behalf of all the CBG members makes it fitting that R/C Theatres is the first of many CBG members to move forward.” “The CBG was established to enable independent exhibitors across the U.S. and Canada to survive and thrive in the digital age ” says J. Wayne Anderson former managing director of the buying group. “R/C Theatres and the CBG in partnership with Cinedigm today begin an historic transition to provide high-quality digital cinema to the patrons of independent and small-town cinemas in North America.”
Bill Campbell current managing director of the CBG says “CBG Cinedigm and our equipment partners have developed several options for our members including exhibitor-financed vendor-financed and integrator-financed programs. Beginning with Wayne’s leadership and continuing today the CBG and Cinedigm encourage all CBG members to be proactive in securing their place in the digital future of our industry.”
David Phillips COO-CFO of R/C Theatres “We are excited to be the first circuit to sign up for the CBG Cinedigm Phase 2 digital cinema self-finance agreement. R/C has had the good fortune to be involved in so many aspects of the industry conversion due to the hard work dedication and insight of its now retired chairman and CEO Wayne Anderson. To finally be at the end point of all that hard work is like coming to the end of filming and editing a movie. All the work has been done and now it’s time to screen the final product – digitally of course.” “Since the CBG selected us as the integrator partner for its members the Cinedigm team has been working diligently to develop agreements that worked for all parties ” says Bud Mayo chairman and CEO of Cinedigm. “This process for Exhibitor-Buyers was completed at the end of October and we’re very excited that R/C Theatres will be the first to move forward in converting its theatres to digital cinema.” “R/C’s decision to invest in digital cinema is a testament to their commitment of bringing the highest quality presentation and the diversity of alternative content programming to their audiences. Cinedigm is proud to be working with R/C to help them continue to fulfill that commitment ” says Chuck Goldwater president of Cinedigm’s Media Services Group. “At the same time we are at work with many more CBG members and look forward to adding them to our Phase 2 program as well.” Cinedigm www.cinedigm.com ,1477
Geoff Boyle Chooses Mantis for Wallander ,2010-01-13,Cinematographer Geoffrey Boyle recently finished another installment in the Swedish-language film series based on Swedish crime writer Henning Mankell’s fictional character Kurt Wallander. The ongoing series Wallander airs on Swedish and Nordic television channels then moves to the BBC and is released on DVD. Boyle credits Element Technica’s Mantis camera support for expediting shooting of the last two episodes. “We did the first 10 days handheld with the Red and I was in pain every night ” says Boyle. “Once I got the Mantis everything changed. The secret to handheld without pain is getting the camera completely balanced on your shoulder. No mount I’ve ever come across can do that the way the Mantis can.” Much of Wallander featured long walks and talks through undergrowth and shrubs. “With the Mantis the camera balanced so well I forgot about balancing it ” he says. Element Technica’s Mantis features bicycle-style grips on rosette-mounted handles connected to a rosette cross bar with telescopic handle extensions. The rosette cross bar at the front of the dovetail is adjustable side to side as well as rotationally. The most significant feature of the system is the multi-axis adjustment which provides a variable relationship between the shoulder pad and the dovetail to accommodate the shoulder angle of any operator. By adjusting the shoulder pad’s angle the weight of the camera package can settle into a stable equilibrium with a level horizon and low center of gravity. The Mantis also offsets the pan-axis angle of the shoulder pad relative to the camera so that the line of sight of both operator and camera become parallel eliminating neck and torso twisting or sidestepping. The Red camera is not the heaviest camera he’s counted on the Mantis to support. Boyle recently tested the new Cooke 15-40mm zoom. “We mounted the lens on an F35 and added an SRW-1 recorder on the back ” Boyle says. “That is a hefty combination. However with the package on the Mantis everything was totally centered and balanced on my shoulder. Now I know no matter how small or large the camera package is the Mantis will take the weight off me – and allow me to do what I do best – concentrate on framing the shot and not on holding the camera.” Element Technica www.elementtechnica.com ,1480
A Prairie Home Companion Moves to the Big Screen,2010-01-13,Garrison Keillor host of A Prairie Home Companion brings the beloved radio show to select movie theatres in communities nationwide with a special live performance on Thursday February 4th. The event will originate from the famed Fitzgerald Theater in St. Paul Minnesota where the show has been performed since 1978. An encore presentation will be shown in select movie theatres on Tuesday February 9th. Presented by NCM Fathom Prairie Home Productions American Public Media and BY Experience A Prairie Home Companion with Garrison Keillor – Live in HD! will feature several special guests as well as regular show performers including actors Sue Scott and Tim Russell sound-effects wizards Tom Keith and Fred Newman and the “Guy’s All-Star Shoe Band” led by keyboardist composer and arranger Richard Dworsky guitarist Pat Donohue percussionist Peter Johnson and bassist Gary Raynor. With his usual understated wit Keillor says “After all these years we’re starting to get the hang of doing this show and feeling like we’re ready for the big screen. Let people see what Dusty and Lefty and Guy Noir look like and how the guy does the sound effects and make sure The News from Lake Wobegon is not read from a script. It’s a radio show that has lasted 35 years and now audiences can see why.” For more than 35 years legions of fans have tuned in to Garrison Keillor’s A Prairie Home Companion to be entertained by his low-key reflections sharp insights and trademark humor. Each week A Prairie Home Companion is heard by more than four million listeners of every age on more than 600 public radio stations across the country. The show — performed live on stage in front of an audience — features comedy sketches music and Keillor’s signature monologue The News from Lake Wobegon. The show has been host to thousands of guest artists and has been broadcast from Canada Ireland Scotland England Germany Iceland and nearly each of America’s 50 states. “A Prairie Home Companion has been a treasured jewel of American radio entertainment for more than three decades and will now come to life like never before on the big screen ” says Dan Diamond vice president of Fathom. “Garrison Keillor and the show contributors will deliver an unforgettable entertainment experience for communities of loyal fans all in the comfort of their local movie theater.” The event will appear in 490 select movie theaters around the country through NCM’s exclusive Digital Broadcast Network. Several independent venues and performing arts centers will also participate in the event. National CineMedia www.ncm.com ,1482
Filament Wraps the Music Voyager,2010-01-13, Denver-based Filament Productions recently wrapped production on the upcoming television series The Music Voyager a travel and adventure-based music show that explores the roots of popular music originating in countries around the world.
Set to debut in the U.S. this year The Music Voyager takes viewers on a journey to unique destinations around the world to discover the culture uncover popular local music and understand its contemporary significance all while showing adventures the location has to offer. The show will be broadcast on American Public Television/PBS affiliate stations throughout the U.S. on National Geographic Channels International’s Nat Geo Music and Nat Geo Adventure channels (internationally for the first season) as well as on other local broadcast partners (CVM Jamaica etc.) and online. Kelly Magelky is the director and chief editor. Rod Blackhurst and Oliver Cheneval served as director of photographers for the India and Jamaica shoots respectively.
Initial episodes shot earlier this year with Panasonic’s AG-HVX200 P2 HD handheld camcorders feature the Northern regions of India including Mumbai New Delhi Jaipur and Jodphur. Upon availability of the Panasonic HPX300 camera the production crew jumped at the chance to take the P2 HD camcorder to Jamaica for an 11-day shoot documenting the roots of reggae music in the homeland of world-renowned music legend Bob Marley.
“I had many concerns after reading our schedule for Jamaica as it seemed most shoots were going to be at night and most likely in areas difficult to find lighting ” says director Magelky. “I did some tests at home in Colorado and found that the HPX300 had an amazing capability to handle low lighting. I kept checking the shutter speed gain etc. and was truly amazed at what I was seeing. Fast forward to Jamaica – we were indeed in many locations where lighting would be an issue but the camera delivered great results. I was amazed at the footage even while in the edit.”
“A large part of why our show is being received well by our broadcast partners is that we capture great imagery. We absolutely pride ourselves on the fact that every single frame is a knock-out. The HPX300 delivers such a wide dynamic range and color palette that the show sells itself ” says Magelky. “Consistent responses that we hear are that the colors are amazing (pre-color correction). The camcorder does a great job of capturing blacks and reds. Our DP was able to make gamma corrections on the fly very easily and we were able to get the image and color we wanted.”
The segments were shot in 720p/30PN in AVC-Intra 100. “We created scene files for day night overcrank (60fps) and undercrank (12fps) ” says Magelky. “We shot a large amount of scenics at 60fps and sunsets/sunrises at 12fps. For me the big benefit of AVC-Intra is in post-production. I’m finding that the footage handles effects and web compression really well and general picture quality is definitely impressive.”
“There were many bonuses to shooting with the HPX300 ” he says. “The camera’s ability to handle dark situations without gaining was excellent. We didn’t have to up the gain at all. Also because the camera was shoulder-mounted and not too heavy we were able to shoot a lot of moving interviews. I personally thought the ease of viewing clips on location was great.”
Magelky continues “I was very surprised at how quickly the camera was able to switch to the viewing mode and back to camera mode. This was a huge time saver and it made me feel comfortable asking to see certain scenes on the fly. As for battery life – we never had to worry about it – that’s priceless. We needed a variety of focal lengths when dealing with this show and the lens we used (17x HD Fujinon lens) worked really well. The quality of the viewfinder was incredible; it was nice to know we had focus during the shoots.”
The crew utilized twelve 8GB P2 cards. “While we could have used larger cards the capability to hot swap cards kept us from any real issues. Each night or even between shoots I would manage the media by offloading through my computer. The quality of the footage is great but more importantly the integrity of the footage during and after post-production is superior; it holds up very well ” Magelky says. “This is a great codec – especially as so much footage is online these days. Even if it’s on air it usually ends up being streamed online as well and this codec is great to work with overall.”
The Music Voyager is being edited in Final Cut Studio Pro 7. The Music Voyager www.tantraww.com National Geographic Channels International www.natgeotv.com ,1483
Film Movement Releases Mine Simultaneously in Theatres and on iTunes,2010-01-14, Film Movement has advanced its mission of bringing the best in independent and art-house cinema to film fans across the country whether they live in metropolises or rural communities with the simultaneous release of Mine in theatres and on iTunes.
The award-winning documentary film Mine distributed by Film Movement was released in theatres nationwide kicking off with its San Francisco theatrical premiere concurrent with its iTunes premiere on January 8th. Mine’s San Francisco theatrical release will be followed by New York and New Orleans runs with a national 20 US city release to follow. Film Movement’s president Adley Gartenstein says “It has always been important to Film Movement to bring the very best in independent and art-house film to as wide an audience as possible without being held prisoner by traditional distribution windows. We are very proud to announce this theatrical day-and-date iTunes movie release and are confident that it will open the door to a successful new arena of film distribution enabling a wider audience.” Film Movement www.filmmovement.com Mine www.mine-the-movie.blogspot.com ,1485
JVC Unveils 2D-3D Stereoscopic Image Processor,2010-01-14,JVC Professional Products has introduced the IF-2D3D1 Stereoscopic Image Processor which works as a 2D-to-3D converter and as a 3D L/R mixer for video content producers. The IF-2D3D1 is designed to help 3D content producers improve their workflow whether they are converting archived 2D material or shooting original content in 3D. “With the public’s renewed interest in 3D for both theatrically released content and beyond many content producers are looking to repurpose existing 2D materials to meet demand. Meanwhile other producers creating new content need an uncomplicated way to check their 3D footage on location ” says Dave Walton JVC’s assistant vice president of marketing and communication. “This single unit is ideal for both. The IF-2D3D1 is the key to providing new solutions for virtually any 3D content creation scenario.” Using unique JVC algorithms the IF-2D3D1 converts 2D content to 3D in real time offering no fewer than four 3D mixed formats (which combine left-eye and right-eye images) for stereo video output on a compatible device: line-by-line side-by-side-half above-below and checkerboard. J JVC is making this 2D-to-3D conversion technology widely available under license. The IF-2D3D1 can also output discrete left and right signals via HD-SDI or HDMI for dual projection or editing. Output can be adjusted for parallax (image displacement) and 3D intensity – both with natural anaglyph and sequential viewing modes. Generally 3D footage is shot using a pair of video cameras but producers have not had a practical method of real-time monitoring on location. The IF-2D3D1 easily combines the left-eye and right-eye images – nothing else is required except a 3D capable monitor such as JVC's GD-463D10U a 46-inch 3D LCD panel. A built-in HD-SDI frame synchronizer provides sync for two cameras that lack external sync plus anaglyph and sequential viewing modes provide multiple ways to check 3D content. Content creation workflow can also be improved through a variety of additional features. The Scope feature provides a waveform monitor and vectorscope for comparing both video streams on a display to ensure the settings for both cameras – such as exposure and white balance – are matched. The Split feature combines the two video streams on one screen with a moveable boundary allowing instant L/R comparison. And when one of the two cameras has to be positioned upside down (to ensure correct spacing) Rotation makes sure both streams can be viewed the right way up and in sync. The IF-2D3D1 will be available March 2010. JVC http://pro.jvc.com ,1488
Kerasotes Installs 48 Barco Digital Cinema Projectors,2010-01-14, Kerasotes ShowPlace Theatres has purchased 48 Barco digital cinema projectors to be distributed throughout multiple markets. Locations include three new multiplexes in Secaucus New Jersey Minneapolis Minnesota and Chicago Illinois plus standalone 3D installations in Denver Colorado and Illinois.
With the opening of the new 16-screen multiplex in Chicago's Roosevelt Collection and a new 14-screen multiplex in Minneapolis Kerasotes unveils their ShowPlace ICON Theatre design a multi-sensory experience of lounge dining and digital widescreen picture and sound. The Chicago multiplex opened last month. Kerasotes says it has designed its ICON theatres to be a glamorous atmosphere reminiscent of Hollywood. In them guests 21 years and older can enjoy food and beverages in the lounge or VIP Premium seating areas. Additional amenities include reserved seating specialty foods at the concession stand and stadium seating. “Kerasotes' new ICON multiplexes have a beautiful and sophisticated urban vibe ” says Scott Freidberg vice president of sales for Barco's Digital Cinema business “and they've become destination locations that encompass movies and so much more.”
Each new Barco-equipped Kerasotes multiplex offers both 2D and 3D capability. “When it comes to projection and audio I always buy state-of-the-art technology ” says Fred Walraven Kerasotes' technical director. “That's the driving force in each of these installations from the Barco projectors to the QSC audio amplifiers and the Dolby servers. The important factor is that our customers get the best performance and I get the best product reliability. Whether it's 2D or 3D our customers have a theatre experience that's unbeatable.”
“We are very pleased that Kerasotes has selected Barco as their digital cinema technology provider for these remarkable premiere theatres says Todd Hoddick vice president of Digital Cinema for Barco N.A. “Kerasotes has a reputation for providing a customer experience that's beyond compare and now we're honored to provide Kerasotes with our own expertise — the brightest images the highest reliability and the most comprehensive levels of service and support in the industry.”