Linkin Parkʼs Iridescent to Screen in 3D at Theatres Worldwide

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Wed, 07/27/2011 - 20:00 -- Nick Dager

Grammy-Award winning Linkin Park and Warner Bros. Records teamed up with PassmoreLab to create the bandʼs latest music video Iridescent in stereoscopic 3D. The song plays during the end credits of the number one box office film Transformers: Dark of the Moon. The 3D music video is playing in select independent theaters worldwide at the end of the movie. The video for Iridescent is abstract shot in black white and grey tones and intercut with images of snakes bulldogs futuristic architecture bionic entities and Transformer robots (which provide the only brief flashes of color). The video is all part of director (and Linkin Park turntablist) Joe Hahnʼs vision. “It explores how human existence might be affected by the elements of Transformers robots and the threat of the Decepticons says Hahn. What would it be like to be citizens in a decaying universe? I tried a lot of new things and we had fun shooting it. This is the second time Linkin Park has worked with PassmoreLab for 3D production. Last year PassmoreLab added the 3D post-production to the bandʼs video for the number one single Waiting for the End. The video touted as a “montage of melodic emotion ” received critical acclaim and earned Linkin Park and PassmoreLab numerous awards and praise at 3D film festivals worldwide. PassmoreLab provides stereoscopic 3D production and post-production services using a combination of traditional approaches and proprietary tools. “We had a very tight schedule to complete all the 3D elements of Iridescent in time for the Transformers 3 premiere. Throughout the 3D production process we worked very closely with the band's digital post-house Ghost Town Media in Los Angeles to stay true to the director's vision for the video. Without a high level of communication and efficient workflow between everyone involved with this project it would not have been completed on time. The collaborative end result is truly a beautiful and dramatic use of 3D. Hahnʼs post-apocalyptic vision and our 3D mesh wonderfully ” says Greg Passmore CEO of PassmoreLab. Iridescent provides a unique blend of gritty desaturated stylization and iconic imagery that is greatly enhanced after conversion to 3D. “Our proprietary 3D techniques and alternative style has become a sought after commodity in the music industry ” says James Humann executive producer with PassmoreLab “We feel that ʻIridescent 3Dʼ is a game changer for the music video business and weʼre looking forward to continuing to work with bands and artists to produce and distribute videos and live performances through the latest 3D delivery platforms.” Both Iridescent and Waiting for the End in 3D are available for distribution through PassmoreLab on multiple platforms including mobile devices video on demand television broadcast and theatrical. Linkin Park PassmoreLab Warner Bros. Records ,2617
The Look in Soho Installs a LightSpace CMS,2011-07-28, The Soho boutique post house The Look has installed a LightSpace CMS for facility-wide color management control. 

For Thomas Urbye managing directyor of The Look the selection of LightSpace CMS was the perfect solution to the growing needs for accurate calibration throughout the facility as well as extending into associated operations and workflows including VFX editorial and on-set look management. 

Urbye says “Accurate color management has become increasingly critical as display technology has continued to move away from traditional CRT monitors to LCDs with varying backlight technology; digital projection; plasmas; and more. Additionally the growth in digital image capture has brought with it a need for better color management throughout a project’s entire workflow. With LightSpace CMS from Light Illusion we are able to provide the best possible display calibration control.”

 Urbye adds “At The Look we don‚t just have multiple display types but multiple creative systems as well meaning we require accurate calibration combined with full LUT management. LightSpace CMS is the only system to provide such a complete solution.”

 Of additional importance at The Look is the recent investment in SGO's Mistika Stereo 3D 2K grading and compositing system which along with The Look's 3D ready Quantel Pablo systems makes the facility one of the most stereo 3D capable in town.

 Urbye says “With the differences in 3D displays in both cinema and broadcast it's imperative we're 100 percent confident that we're set up for perfect color calibration to produce the best possible images in every environment for our clients.”

 Steve Shaw CEO of Light Illusion says “Color calibration is an area Light Illusion has specialized in for some time and we have developed a range of solutions for the post and production environments from complete digital facility calibration system through to support services for film lab profiling including stereo 3D calibration.” ,2618
Marcus Theatres Signs Licensing Agreement with Cinedigm Subsidiary CDF2 Holdings,2011-07-28,Marcus Theatres has signed a master license agreement with CDF2 Holdings a subsidiary of Cinedigm Digital Cinema to deploy digital cinema systems in approximately 630 first-run screens at 47 company-owned locations. The agreement includes 64 previously installed systems.  When completed digital projection technology will be offered at virtually all screens operated by Marcus Theatres. Installation of the first systems is currently expected to begin later this summer with the balance should be completed by the end of the year.   Under the terms of the agreement CDF2 Holdings will purchase the digital projection systems and license them to Marcus Theatres under a long-term arrangement. Cinedigm is responsible for structuring and implementing the underlying VPF agreements with the studios as well as administering the VPF program. “Marcus Theatres is proud to continue its long history of technological innovation and quality by entering into this agreement with Cinedigm to enable the conversion of our circuit to digital cinema and assure that our guests can experience the pristine visual presentations digital cinema offers.  The advantages for our guests will be brighter and better focused images and a consistently clear and steady picture with truer more vibrant colors whether they see a motion picture on its first showing or in its last week of exhibition ” says Bruce J. Olson president of Marcus Theatres.   “Marcus Theatres has been very diligent in evaluating their digital cinema options and we’re thrilled we were able to create a customized solution that works for them ” says Chris McGurk chairman and CEO of Cinedigm. “When I joined Cinedigm in January one of my main goals was to establish a long-term relationship with this leading theatrical exhibition company so I am personally thrilled that we were able to make this happen with the Marcus Theatres team and we look forward to a fast rollout so their audiences can enjoy the benefits of digital cinema as soon as possible.” “The installation of this new digital technology will give us the flexibility to schedule not just major Hollywood motion pictures but more 2D and 3D presentations of live and recorded non-film programming such as sporting events music Broadway plays and many more offerings in all of our markets ” says Olson.  Olson explained the rollout of digital cinema would also provide Marcus Theatres with the opportunity to increase the number of 3D screens the company will offer its guests in the future. Olson said additional providers of digital cinema technology and services will be announced shortly. Marcus Theatres ,2619
Norway World`s First All Digital Cinema Country Film Distribution Ends,2011-07-28,All cinemas in Norway were digital by the end of last month. Film & Kino the Norwegian cinema association conducted the roll out of 420 screens all over the country. This means that no more 35mm will be distributed. The rollout started in June 2010 and has taken a year. The association said it has been a challenge due to Norway`s elongated shape with sparsely populated areas but the process took one year less than anticipated. Mainly Christie projectors and Doremi servers have been used in the roll out but 65 Sony 4Ks have also been installed. About 80 percent of Norwegian Cinemas are 3D capable. Some results of digitalization can already be witnessed the association said. The system is now more secure compared to the 35mm system. Only a handful of quality failures have been counted for the first 150 000 digital screenings.  VPF income is a bit higher than predicted and VPF payments will probably end in 2017. The small and medium sized cinemas are the winners of digitalization and have obtained access to a much larger selection of film than previously. They also get the films considerably faster than before. This has resulted in higher attendance and better economy for the smaller cinemas. “This is a great achievement for Norway” said Jorgen Stensland head of consultants at Film & Kino. “We would like to thank Disney Fox Paramount Universal Sony and Warner as well as local distributors such as SF-Norway and Nordisk Film for working with us in this scheme. We also would like to thank Unique Cinema Systems Nordic Digital Alliance DNB-NOR Finance Christie Doremi and Sony who all have contributed in this great effort. We are happy that Norwegians all over the country now are able to experience the perfect quality of a DCI-compliant digital exhibition in their local cinemas.” ,2620
PostWorks NY Partners with Technicolor to Provide Post Services in New York,2011-07-28,Telecorps Holdings the parent company of PostWorks NY has signed a binding agreement to partner with Technicolor to jointly provide editorial color grading and other post-production services in New York. The company’s PostWorks facility and Technicolor’s Technicolor East Coast facility both located in Soho will operate as a single unit under the name Technicolor/PostWorks. The companies’ aim is to take advantage of their complementary talent resources and experience in order to deliver the highest quality post-production experience in the New York market. The two companies formed a similar partnership last year to provide film laboratory services through the jointly operated New York Film Lab. “We have worked towards creating this kind of synergy for a long time ” says David Rosen chairman of Telecorps. “Customers are searching for the highest quality solutions with the fewest points of contact. They want a provider who can facilitate all aspects of the acquisition editing and finishing of content. This partnership provides that answer.” Technicolor/PostWorks combines Technicolor’s strong global brand with PostWorks’ boutique appeal.  PostWorks is one of the entertainment industry’s most comprehensive post-production companies offering film processing digital dailies non-linear editing systems file-based workflow and finishing and digital intermediate services. It also features full service sound facilities. Key executives from Technicolor and PostWorks will manage the integration and ongoing operation of the two facilities to ensure continued delivery consistent with Technicolor and PostWorks standards. Telecorps Holdings also owns Hula Post Orbit Digital Wexler Video and Coffey Sound whose operations are unaffected by its partnership with Technicolor. In a separate transaction Technicolor has entered into a binding agreement to acquire the assets of LaserPacific a Los Angeles post house and a sister company to Telecorps. The transactions are expected to close at the end of August. PostWorks New York ,2621
First Arabic 3D Music Video Playing in the Middle East,2011-07-28, As a result of a joint venture between the Rotana Audio Visual Group and Sony Gulf Arabic audiences are currently enjoying their first 3D experience a music video clip on Najwa Karam in her song Ma Fi Nom. The 3D music clip marks the beginning of the era of 3D production in the region. The feat was pulled off with the assistance of three professional teams from the US and the UK. Additionally the Lebanese W&P Production group undertook extensive research on 3D techniques to familiarize the Middle East crew with the technology including the sophisticated equipment and digital cameras that were used for the shoot.

 Popular Lebanese singer Najwa Karam was chosen to feature in the clip for her distinct Arabic flavour with a contemporary twist that fits well with modern 3D technology. Her unique signature style is reflected throughout the video and enhanced with 3D technology. Filmed by director Walid Nassif the song Ma Fi Nom and particularly its drum beat present a novel music style which accompanied by her sonorous voice provide the most compatible rendering to translate into a 3D platform. The three-day shoot took place in Northern Lebanon at Nahr Ibrahim in the Kesserwan area of Basateen Al Ossi Jeita Grotto and the studio in Mansourieh and had one of the biggest production budgets in the Middle East. ,2624
Technicolor to Acquire Cinedigm’s Distribution Business,2011-07-28, Cinedigm Digital Cinema and Technicolor have entered into a binding letter of intent for Technicolor to acquire the assets of Cinedigm’s physical and electronic distribution business as well as to create a strategic software design partnership between the two companies. The transaction is expected to close within 45 days subject to the execution of definitive documentation.   Technicolor will also become a strategic software design partner with Cinedigm supporting the development of next generation entertainment industry software products to leverage the opportunities created by the rapidly accelerating global digital cinema conversion. The initial phase of the software partnership will commence with Technicolor’s global licensing of the Cinedigm digital distribution software platform. Additionally the companies will evaluate opportunities to jointly market Cinedigm software products to Technicolor’s software customers in key existing and emerging territories worldwide. 

On the delivery side Technicolor will become the preferred content servicing partner for Cinedigm’s growing alternative content and independent film distribution business.   The companies intend to expand their delivery agreement as Cinedigm’s content distribution business grows organically and through acquisitions.

Financial details of the deal and partnership were not released. “Technicolor is the market leader and highly respected in the delivery business with strong customer relationships both domestically and internationally that will allow Cinedigm to expand our software and content distribution businesses faster and more effectively ” says Chris McGurk chairman and CEO of Cinedigm. “Simultaneously by providing Technicolor access to Cinedigm’s leading software and delivery tools like CineXpress Technicolor will enhance its position as a global innovator and become an even stronger player in its core delivery business.  This is a perfect strategic alliance.” “We are particularly eager to partner with Technicolor’s strong management team ” says McGurk. “Claude Gagnon Curt Behlmer and Dave Elliott are highly respected executives and we look forward to working with them to grow our software business as well as to expand our content distribution business.”

 “This agreement re-emphasizes Technicolor’s commitment to investments in digital services ” says Frederic Rose CEO of Technicolor.  “This transaction will allow our Digital Cinema business to expand its market leading electronic distribution footprint while continuing to provide the highest level of quality and security to our studio clients.”

 As part of the arrangement Technicolor will purchase certain assets of Cinedigm’s feature and trailer distribution delivery business based in Chatsworth California.

 Cinedigm   ,2626
Growing 3D Market Focus of Fourth Annual Summit,2011-07-30,The burgeoning international 3D marketplace will be a primary focus of the Fourth Annual 3D Entertainment Summit presented by Unicomm and The Bob Dowling Group in association with Variety which is scheduled for September 20-22 at the Hollywood & Highland Center in Hollywood California. At least one in four of the world's screens are now 3D-capable says Charlotte Jones senior analyst film and cinema for HIS Screen Digest. This trend is driven by strong and continued investment in key international markets as well as further geographic expansion of 3D screens to new territories. Digital 3D can now be experienced by consumers in over 100 theatrical markets worldwide.” The run of exceptional growth in international theatrical markets has been instrumental in achieving a current worldwide total in excess of 30 000 3D screens as of June 2011 says Jones. That's more than double the number at the same point last year. 3D is now a global business with traditional and emerging new players on every continent says Jim Chabin president and CEO of the International 3D Society which has seen a dramatic increase in the number of its worldwide chapters over the past year. We'll share some never-before-seen content from 3D Society members overseas which will demonstrate the power of this new art form. From its inception in 2008 the 3D Entertainment Summit has focused on the most current and far-reaching effects of 3D says Dowling the conference co-chair. This year the summit will focus on the explosion of 3D product in the international marketplace. 3D Entertainment Summit