IndiePix has announced that following its partnership with The Cinema Guild earlier this year The Axe in the Attic a candid documentary that captures the destruction caused by Hurricane Katrina just days after it struck is now available to educational institutions. The Axe in the Attic shows the physical devastation as the hurricane hit but also the dignity humor and perseverance of thousands of evacuees who three years on continue to piece their communities back together. It is available to schools universities and public libraries across the U.S. before being made available to a global consumer audience through IndiePix – to purchase or download-to-own – early next year.
Independent filmmakers Lucia Small and Ed Pincus took a sixty-day road trip from New England to New Orleans just days after Katrina hit the States in August 2005. Katrina brought about one of the biggest migrations in the country's history and as they travelled down the Gulf Coast the filmmakers recorded incredible stories. Our film touches on what it means to be exiled in your own country with a government that is conspicuously absent says Pincus director of The Axe in the Attic. The title is a reminder of all the families who faced the reality that they might drown in their own homes unless they were able to break through the roof. We really pushed the boundaries with The Axe in the Attic and it brings home just how the influence of race class and gender still affects today’s society. Roger Ebert the celebrated film critic on the Chicago Sun-Times film critic Roger Ebert praised the movie and gave it three stars out of four. In his review he said I had no idea what happened after Hurricane Katrina devastated New Orleans and the Gulf Coast. No idea. I read the papers and watched the news on TV and I had no idea.
I appreciate Roger Ebert's stars but I appreciate more his directness says IndiePix president Bob Alexander. Katrina was an extraordinary event and although the wind rain and waves were shown on television they are not the story. The people who live through these disasters and who come back to repair their lives are the story and this kind of story is one that independent filmmakers – with their emphasis on people and their stories – are ideally suited to tell. The public record is incomplete without their work and we are very pleased to contribute to the distribution of this film by working with our partner The Cinema Guild in an effort to make that record complete.
Our documentaries are one of the most effective ways to teach youngsters about real life. Instead of simply reading a textbook they now have the opportunity to see first-hand how everything from homelessness to drug use affects everyday people. Click here to see the trailer of The Axe in the Attic IndiePix Films www.indiepixfilms.com ,554
ZON Lusomundo and XDC to Deploy 180 Digital Screens in Portugal,2008-11-20,Digital cinema service company XDC and ZON Lusomundo the largest cinema chain in Portugal have signed an exclusive agreement for the deployment of digital cinema systems in 180 of ZON Lusomundo's cinema screens in Portugal. The agreement includes the roll out of DCI-compliant projection systems co-financed by the Virtual Print Fee model. The rollout is scheduled to begin in January with an initial commitment of 100 screens throughout the rest of the year. Tomás Gonçalves CEO of ZON Lusomundo says With this investment we will be among the most innovative cinema operators in the world and a landmark in the development of European exhibition standards. Not only will we be offering our spectators outstanding picture and sound quality we will also be able to extend our programming to alternative content at all of our theatres with more recorded and live 3D shows live satellite events such as opera concerts and sports. In addition going digital will allow us to become a more efficient company lowering our operating costs whilst at the same time generating significant improvements in customer service. Serge Plasch XDC's chief executive officer says We are very proud to announce our second VPF deal with ZON Lusomundo the most important exhibitor in Portugal. This demonstrates that the XDC's business proposal meets the requirements of European exhibitors. We expect to announce additional deployment deals in other countries soon in order to reach 1000 installed digital screens across Europe before the end of 2009. Elisabeth Berradouan senior sales manager Southern Europe with XDC says This agreement is the results of a very professional selection process. We are pleased to start this long-term partnership with this leading exhibitor. ZON Lusomundo will be the first digital cinema network in the southern part of Europe. Under the terms of the agreement XDC will install Barco 2K Cinema projectors and XDC's CineStore Solo G3 D-Cinema servers. XDC will also implement a fully integrated and networked solution in each complex. ,556
Zacuto Unveils Nine Panasonic HPX170 Kits for HD Camera Transformation,2008-11-20, With the release of the P2 HD Panasonic HPX170 HD camera package maker Zacuto announces nine kits that transform cameras into a camera package for use with the camera or in conjunction with a depth of field adapter. The new HPX170 will work with all existing Zacuto kits. These kits are universal and will not only work with the HPX170 but with all cameras camcorders and accessories. All kits are balanced allowing for smooth movement and less user fatigue in both tripod and handheld use. Zacuto's trademarked Z-Release (quick release) allows for fast installation of components like articulating arms monitors and more. Zacuto kits provide all the components needed for a camera package right out of the box and at a discounted price. Various price points and the ability to be used with a tripod steadicam jib dolly handheld and shoulder mount make the kits suitable for all types of shooting. Zacuto www.zacuto.com ,557
AccessIT Becomes Cinedigm,2008-12-09,Access Integrated Technologies has announced that it will be changing its name to Cinedigm Digital Cinema. This conversion allows for significantly expanded possibilities for big-screen theatre-based entertainment including live performances and events in 3D according to the company adding that the new name and identity are designed to better represent the company's position in the new paradigm in cinema entertainment made possible by its technology and services. It's time that we had a brand that more accurately captures the real promise of what we offer says Bud Mayo the company's chairman and CEO. Our platform takes the movie-going experience beyond cinema allowing studios theatres and content-creators to enhance and expand the kinds of content they can provide to consumers. We have successfully brought true digital cinema to over 3 700 screens in the U.S. and are preparing to almost triple that number over the coming few years. Digital cinema is a terrific opportunity for the industry and enables a wonderfully improved experience for consumers so we are very excited about what's ahead for our business and industry. The company will seek approval by its stockholders of the new corporate name at its next stockholders' meeting in September 2009. Until such approval the company will maintain its corporate name but also do business as Cinedigm Digital Cinema Corporation and use the brand name Cinedigm. The company's subsidiary The Bigger Picture will also be changing its name to Cinedigm and will be known as Cinedigm's Alternative Content Distribution group. A new stock symbol that will better reflect the company's name is expected from NASDAQ shortly. Until such time the company's stock symbol will remain AIXD. Cinedigm www.cinedigm.com ,572
Ballantyne Installs 3D Systems for Regal and National Amusements,2008-12-09, Ballantyne of Omaha has announced that its Strong Digital Systems division provided 35 NEC Starus Digital Cinema projectors with RealD 3D technology to theatre chains including Regal Entertainment Group and National Amusements. The projectors shipments and installations were completed in time for the November release of Walt Disney Pictures' animated feature film Bolt. Strong Technical Services subsidiary is performing a majority of the installations and a majority of the specialty silver screens are being procured from the Company's Strong Screen Systems business. Digital Link an entity formed and co-financed by RealD and Ballantyne funded the projector purchases. Specific financial terms were not disclosed. John P. Wilmers president and CEO of Ballantyne says 3D is a very compelling theatre experience and a strong driver for the early adoption of digital cinema technology. We are pleased to extend our partnership with Real D to deliver their state of the art 3D digital projection solutions in conjunction with NEC Starus projectors to support our customers' plans for Bolt. The momentum for digital cinema is accelerating supported by a growing slate of 3D releases and the anticipation of large scale funding for digital conversions. 2009 is shaping up to be a period of strong demand and Ballantyne/Strong is well positioned to deliver the expertise specialized services and equipment our customers will need to tap this powerful new cinema technology. RealD www.RealD.com Ballantyne of Omaha www.ballantyne-omaha.com ,574
Cinedigm Gets Eight-Year $8.9 Million Credit Facility for Phase 2 Digital Cinema Conversions,2008-12-09,Cinedigm Digital Cinema formerly AccessIT has signed its Phase 2 Entity on an $8.9 million credit facility. The facility will fund the launch of Cinedigm's first 137 Phase 2 conversions of Premiere Cinemas' theatres to the Company's digital cinema platform in what is expected to ultimately be a 10 000-screen digital cinema deployment plan. The first 35 systems are expected to be operational in December bringing the total for Phase 2 to 55 by the end of the year. To date Cinedigm has signed almost 500 screens to its Phase 2 plan and anticipates thousands more in the months ahead. Cinedigm's Digital Cinema division has already installed more than 3 700 digital cinema systems in theaters across the United States during its two-year Phase 1 rollout. The company's Phase 2 plan will provide networked turnkey Digital Cinema systems in conformance with DCI specifications including Cinedigm's Library Management Server and Theatre Command Center software. The system will also include digital projectors and JPEG 2000 media servers from a variety of vendors whose equipment is designed to meet the DCI specifications as well as a demanding set of performance and reliability requirements Cinedigm developed through its success with the Phase 1 plan. We are extremely pleased but not surprised to have closed on this initial financing says Bud Mayo chairman and chief executive officer of Cinedigm. While the credit markets overall remain largely closed Cinedigm is a proven business with a strong track record thanks to its Phase 1 plan and was able to secure credit to initiate our next-stage plans. As industry leader and the only company actually to have converted thousands of screens so far we are committed to delivering on our promise to begin Phase 2 installations for Premiere Cinemas in this quarter in a significant way. Our goal is to continue to sign thousands of additional screens in the months ahead in anticipation of additional financing from a variety of sources. Cinedigm Digital Cinema www.Cinedigm.com ,575
D&E Entertainment Presents Live at Budokan: 30th Anniversary Concert Film,2008-12-09,Earlier this month D&E Entertainment presented the U.S. theatrical premiere of a newly restored concert film from Cheap Trick that previously has only aired once on Japanese television in 1978. With a running time of just over 60 minutes Live at Budokan captures the concert that catapulted Cheap Trick to stardom. The premieres were held in New York City Los Angeles Chicago Philadelphia Seattle and other markets. The history of rock and roll is fraught with more than its share of unforeseen circumstances. But none so unforeseen as those in the life of Cheap Trick – Rick Nielsen (guitar) Robin Zander (vocals and guitar) Bun E. Carlos (drums) and Tom Petersson (bass). Circa 1978-79 they jumped from being the biggest band ever to emerge from Rockford Illinois to becoming platinum-selling headliners on the cover of Rolling Stone. Chalk it up to Japan who held Cheap Trick so close to their hearts that the band’s record company there decided to reward the fans with a live concert album a souvenir of the band’s incredible two-night stand at the country’s most revered sports stadium in 1978. The album turned into a tsunami whose impact catalyzed America then engulfed the world – and now is celebrated three decades later with a four-disc (DVD + 3 CD) package Budokan!: 30th Anniversary Edition that brings the sight and sound together for the first time. The set arrived at both physical and digital retail outlets on November 11th through Epic/Legacy a division of Sony Music Entertainment. Separately on December 9th a new 12-inch vinyl LP of the Live at Budokan original 10-song album will be issued on 180-gram audiophile pressing. The deluxe box set is highlighted by the premiere commercial DVD release of a film of the concert a 15-song one-hour program shot at the Budokan in 1978. This film features a new stereo mix and 5.1 Surround Sound by original producer Jack Douglas and engineer Jay Messina. At last Cheap Trick fans can actually see and feel the moment come to life when – for the first time in history – lead singer Robin Zander exhorts the Japanese audience “I Want YOU… to Want…ME!” The bonus documentary feature Looking Back a new conversation with the band about their original Budokan experience is included in the DVD. In addition there is video of one more song from 1978 (Come On Come On) and two songs from Cheap Trick’s 30th anniversary return concert at Budokan in April 2008 (Voices and If You Want My Love). The four-disc package goes on to include (on disc two) a CD that replicates the audio of the DVD in its full 19-song length also produced by Jack Douglas and Jay Messina. Discs three and four represent the previous 20th anniversary (1998) double-CD Live at Budokan (culled from multiple night’s concerts as was the original 1978 LP) newly remastered to sound better than ever produced by Cheap Trick and Bruce Dickinson. Three decades later Live at Budokan!: 30th Anniversary Edition proves how immortal some albums can be. The LP is ranked on Rolling Stone’s list of 500 Greatest Albums Of All Time and Surrender appears on the magazine’s 500 Greatest Singles Of All Time list. “Owning a copy of Cheap Trick At Budokan is a pop culture rite of passage for generations of music fans ” Ken Sharp writes in the package’s essay. As drummer Bun E. Carlos told him “Budokan captured everything about Cheap Trick that no studio album could capture.” D&E Entertainment www.dandeentertainment.com ,578
DigitalFilm Tree Wins HPA Judge’s Award for Creativity,2008-12-09,DigitalFilm Tree has been recognized by the Hollywood Post Alliance with the Judge’s Award for Creativity and Innovation for the modern data-centric post network they created. This groundbreaking workflow encompasses a data sharing and storage network as well as specially designed editorial systems that allow clients to multiply work output with the same manpower making it efficient and cost effective. This process lets all contributors along the pipeline view change and/or comment on all episodes. What makes this workflow especially unique and valuable is that the various contributors can be at different locations but still access data simultaneously. Founder Ramy Katrib and the team at DigitalFilm Tree have spent the past ten years building the Hollywood-based company into a hub of creativity and technology that provides content creators with innovative and comprehensive services for television feature films gaming and internet delivery. Launched in 1998 by a team of expert editors and post specialists in a small office on Sunset Strip Katrib set out to build a distinct facility that relied upon creative thinking innovative engineering color science and a fearless dedication to do things non-traditionally. Launched this year the HPA Judge’s Award was conceived to recognize the intensely creative technology-fueled and challenging environment in which content creators post-production facilities experts and manufacturers work in. The Judge’s Award offers an opportunity to reward innovative thinking in the areas of new tools workflows and ideas that enhance the post-production process from a technical creative and/or efficiency perspective. Their clients from CBS/Paramount Television were also honored with their own HPA Judge’s Award for their use of this workflow on the series Everybody Hates Chris. Everybody Hates Chris on CBS is the first network show to utilize this new HD workflow. From the day that DigitalFilm Tree opened its doors Katrib and his team have worked on a variety of projects that ran the budget gamut: documentaries blockbuster feature films and network television. DigitalFilm Tree clients experience an atmosphere conducive for creatives as well as networks studio producers and executives. Clients include The Forbidden Kingdom Everybody Hates Chris Scrubs Weeds self-produced independents alongside iconic titles including Cold Mountain and Napoleon Dynamite. DigitalFilm Tree’s dedication and innovation has attracted interest from the studios and producers who know that technology and processes are changing rapidly. Their studio facility offers a comprehensive list of post services as well as consultation creative services and physical production. Now located in Hollywood near Universal Studios DigitalFilm Tree boasts a resolution independent environment throughout its DI suites and theaters. Katrib says “It’s such an honor to receive recognition from both our peers and competitors we are totally thrilled. It’s a nod to the unique and non-traditional work we have been doing and I am so proud of the creative and technical team that is behind DigitalFilm Tree. We believe these Data-Centric workflows are extremely beneficial to everyone involved and the motion picture industry today.” DigitalFilm Tree www.digitalfilmtree.com ,579
Film and Television Distribution and the Internet ,2008-12-09, There is no area of business that is more dramatically affected by the explosion of web-based services delivered to computers PDAs and mobile phones than the film and television industries. The web is creating radical new ways of marketing and delivering television and film content; one that draws in not simply traditional broadcasters and producers but a whole new range of organizations such as news organizations web companies and mobile phone service providers. A new report focuses on the practical application of UK and EU law as it applies to the distribution of television and film through the Internet. This includes terms of contract and copyright as they affect studios broadcasters sales agents distributors Internet service providers film financiers and online film retailers; as well as areas such as the licensing of rights. It also covers the commercial aspects of delivering film and television services to a customer base including engaging with new content platforms strategic agreements with content aggregators protecting and exploiting intellectual property rights data and consumer protection and payment online marketing and advertising. The opportunities for companies operating in this area are extraordinary (as are the legal implications) and Andrew Sparrow’s guide provides a starting point for navigating through what is a complex area of regulation contract copyright and consumer law. For a complete copy of this report click on: http://www.researchandmarkets.com/product/a02b47/film_and_television_dis... ,581
GDC Signs VPF Deal with Three Studios for Exhibitors in Asia,2008-12-09, In a move designed to accelerate the conversion of cinemas in Asia to digital technology GDC has reached separate non-exclusive agreements with three Hollywood Studios for digital cinema deployment across Asia. Under these agreements 20th Century Fox Paramount Pictures International and Universal Pictures International will be committed to supply Asian exhibitors with feature film content digitally as well as to make financial contributions towards the hardware cost of DCI-compliant digital cinema equipment deployed by GDC. Phase 1 of the program covers 6000 screens in various countries throughout Asia. The conversion of cinemas in Asia to digital technology will enable both exhibitors and distributors to reap substantial benefits of digital cinema: high quality non-degradable prints new programming opportunities such as premium digital 3D films alternative content and live satellite events vastly reduced print production and logistics costs and better protection against piracy.
Julian Levin executive vice president digital exhibition and non-theatrical sales and distribution Twentieth Century Fox says “GDC’s commitment to the digital transition and roll out of DCI compliant digital projection systems across the Asian markets is very significant. Digital projection will not only provide movie goers with an enhanced theatrical viewing experience but also will provide 3D and alternative programming opportunities which are not possible with conventional analog 35mm film. We are delighted to have closed this deal and look forward to working with our friends and colleagues at GDC to bring this plan to fruition.”
“This is an important milestone event for the Asian digital cinema industry ” says Roger Pollock Paramount Pictures’ executive vice president international distribution and operations. “It will help accelerate the conversion to digital screens across Asia and it will also have a major impact on the availability of 3D projection in the region. We intend to work closely with GDC to quicken the pace of this digital transition.”
David Kosse president Universal Pictures International says “Speeding up the conversion of Asian cinemas to digital technology is an important step forward. Universal is pleased to be working with GDC in the roll out of digital cinema throughout Asia. We look forward to supplying our movies to this new digital platform and giving moviegoers in Asia the highest quality cinema experience ever available.”
“GDC is proud and honored to be the first in Asia to have entered agreements with Hollywood studios ” says Dr. Man-Nang CHONG founder and CEO of GDC Technology. “These milestone agreements finally offer Asian exhibitors a viable commercial model to finance their digital conversion and put together a sustainable roll out strategy. The support of Fox Paramount and Universal is a strong endorsement of GDC and its competency in delivering a pan Asian deployment. We are expecting more signings with other studios and independent distributors in the near future.”
GDC Technology www.gdc-tech.com ,582
New Projectors Claim to Show All Aspect Ratios,2008-12-09,ISCO has entered into an original equipment manufacturer partnership with Wolf Cinema. Their joint equipment design combined products and technologies have led to what the companies are calling an exclusive industry first: the ability of Wolf Cinema projectors to show every single movie in its original aspect ratio from 1.33:1 to 2.67:1. It is unclear when the new projectors might come to market. In the partnership ISCO anamorphic lenses will be a core component of and fully integrated into all Wolf Cinema's projector systems: the Reference Digital digital-cinema-grade projector (retailing at $180 000); the DCX 3-chip DLP technology projector (retailing at $60 000 to $117 000); and the Reference Analog 35mm film projector (retailing at $55 000); as well as the Wolf Cinema complete Reference System comprising a digital-cinema projector two 35mm film projectors and a Dolby Digital Cinema processor (retailing at $300 000). ISCO can add yet another successful OEM partnership to its list. With Wolf Cinema we've been able to solve a unique front-projection challenge: produce a true fidelity image regardless of room size or distance to the screen says Brian Ludvigsen president ISCO. This industry first is a result of ISCO's devotion to working closely with video projector manufacturers to meet the continued demand for high-end high performance systems. Now custom integrators installers dealers and movie fans can finally get the real deal – true fidelity studio experience with the movie in its original aspect ratio – whether they're watching The Phantom of the Opera on Blu-Ray disc or Ben Hur on 35mm film.” ISCO is the leading lens brand in quality precision and dependability in the high end theater market. Quite honestly ISCO is the only anamorphic lens choice large enough to do what we need to do. There's no other partner combination out there that can show all films in their original aspect and we expect the products to generate a lot of interest says Jim Burns principal Wolf Cinema. Wolf Cinema www.wolfcinema.com ISCO www.isco-usa.com
IndiePix Offers Katrina Documentary Free to Schools Libraries
