Megaplex Chooses Doremi as Primary Technology Provider

Megaplex Theatres has selected Doremi as the primary technology provider for the upgrade of its remaining screens across six locations throughout the state of Utah. Forty-one Doremi DCP-2K4 servers are scheduled for installation this summer. Moreover Doremi’s accessibility product line including the CaptiView closed captioning system and the Fidelio device for the visually impaired are also scheduled for installation in the theatre complexes. The theatre chain expects to have the upgrade completed by the end of September. We are happy to offer enhanced services in these new cities to our guests especially those with hearing or visual limitations said Blake Andersen senior vice president and general manager of Megaplex Theatres. “We chose Doremi products because of their unmatched reliability and performance characteristics. We are very pleased and excited to be partnering with the industry’s leading technology provider in ensuring the best quality experience for our guests. Megaplex Theatres has the highest grossing box office per capita in the U.S. Megaplex Theatres recently finished in the top five in the U.S. for the midnight premiere of The Dark Knight Rises as well as several other films including the Twilight franchise the Harry Potter franchise and the Pirates of the Caribbean franchise among others. ,3431
Film Chest Upgrades Restoration Capabilities,2012-07-31,Film Chest has chosen a Digital Vision Golden Eye III film scanner and Phoenix restoration software to power their expanded pipeline for television and motion picture restoration and distribution. The systems were installed earlier this year in Film Chest’s Bridgeport Connecticut facility. Film Chest owns and distributes thousands of titles boasting one of the largest libraries of classic movies and television series’ in the world. They provide content to pay cable public and broadcast television motion pictures streaming distribution and a variety of other professional uses. Their collection is also notable for its archive of orphan films and family collections. Film Chest delivers to networks studios and the growing array of outlets including Hulu Netflix Turner Classic Movies and American Movie Classics Amazon iTunes Verizon FiOs and Vudu as well as servicing other libraries.   Given the nature of the projects they work on and the condition of the elements it was crucial that they develop a high-quality solution to their restoration needs. Phil Hopkins founder and president of Film Chest said “We were committed to building an in-house facility to create the highest quality elements possible not just for our projects but for the libraries that we manage on behalf of a number of content holders. In the midst of all of our extensive work we realized that it was simply inefficient to send negatives away for scanning. After we investigated all of our options we found that the Golden Eye III and Phoenix offered us an amazing solution from scan to final with great Digital Vision support and hardware and software integration.” After quality output became the top priority for the Film Chest team. Hopkins continued “With 200 features to do each year we had to have a high degree of accuracy and efficiency. Beginning the process with Golden Eye III and going thru the process of Phoenix is an extremely proficient model.  In the near future when the integration of metadata is complete we will be incredibly efficient in our service.” “The Strange Love of Martha Ivers is a perfect example of a problematic film ” he said. “The print belongs to the Library of Congress and we were working with them towards a Blu-ray release of the film. We asked The Library to make a transfer but when we began to work on the restored master they sent the film was shrunken and destabilized. I spoke with the head curator and they agreed to send us the original film elements which is an extremely rare occurrence. The Golden Eye III transfer was absolutely as good as it could be and the restoration was much better than it would have been on its own.” He said “We must have a powerful ability to work with problem films from S8 to 16 to old 35 we need to make the very best elements possible. We manage a complex and frequently problematic library. This pipeline has given us an arsenal of tools that help us create beautiful and lasting projects. We couldn’t be happier with the Golden Eye III and the Phoenix.” Kelvin Bolah president of Digital Vision said “The Film Chest team have been very thorough in the evaluation of our technology and competitive solutions. They are a very impressive group of people and based on their in-depth knowledge and due diligence they have chosen to work with what they consider to be the best tools in the market. Their stringent processes gives total validation to the efforts of our strong product management and R&D teams. We wish Film Chest undoubted success as they continue to grow and develop their business.” ,3433
FilmLight Lowers Price of Baselight Till Mid September,2012-07-31,FilmLight has lowered the price of its Baselight color-grading system until mid September. The Baselight One Access package can now be purchased for less than $50 000 and includes the latest Baselight 4.3 software  complete installation technical support and on-site operational training. “Baselight’s reputation and use by the world’s leading facilities on high-profile projects has caused some to believe that it is unaffordable but that is a myth ” said FilmLight head of marketing Mark Burton. “Baselight One incorporates the same software features found in Baselight Two Four and Eight and this package makes it even more accessible  ” Baselight One is compatible with third party control surfaces and FilmLight’s acclaimed Blackboard which can be included as an option at the time of purchase or added later. ,3434
Filmworkers Club Install FotoKem NextLab,2012-07-31, Chicago’s Filmworkers Club has installed a FotoKem nextLab system to help manage input from camera dailies through the color pipeline to delivery. NextLAB is a dailies-to-archive system which manages media archives to LTO and provides quality control tools at every step of the production pathway. It is also available as a mobile unit for on-set and near location support services.
 
 Filmworkers’ founder and president Reid Brody says “We’re pleased to be able to utilize the powerful attributes of the nextLab software to make sure that our mutual customers receive the services they desire in the most efficient manner possible. We have been managing and anticipating the ongoing changes that digital acquisition and file-based productions are bringing to our customers and to us. We have a long friendship and collaboration with our colleagues at FotoKem and as production and post become intertwined both of our companies remain focused on our customers’ changing needs.”
 
 Mike Brodersen vice president of FotoKem adds “The software is effective easy to integrate and customizable. Our relationship with Filmworkers is a practical extension for the multi-regional projects that filmmakers are involved with. This will enable them to work the way they want to work.” ,3435
Goldcrest Post Narduzzo Too Expand Relationship,2012-07-31, Goldcrest Post Soho London and grading facility Narduzzo Too owned and headed by Vince Narduzzo have teamed up after high demand at Narduzzo Too’s existing Pinewood based facility prompted need for expanded services. 

As part of the expansion Goldcrest Post has adopted Light Illusion’s LightSpace CMS color management system to match the workflow already in place at Narduzzo Too Pinewood and at Goldcrest Post’s New York City facility.

 Simon Ray Goldcrest’s head of operations and engineering described the decision to adopt LightSpace CMS for the new partnership as being one of the easier equipment decisions to make while equipping the new DI operation. “With LightSpace CMS already well established within our New York facility as well as at Narduzzo Too Pinewood we knew LightSpace CMS would prove not just to be the best product but we would gain exemplary support from Light Illusion too ” he said. As well as purchasing LightSpace CMS with an X-Rite i1 Display 2 OEM probe Goldcrest Post also contracted Light Illusion to provide a consultancy service to help define the new DI operation’s workflow suggesting associated display and monitoring systems as well as overseeing the initial room calibration.

 Steve Shaw CEO of Light Illusion said “It’s always great to work with operations that are striving to provide their customers the best and therefore demands that from its suppliers. Both Goldcrest and Narduzzo Too have previously selected LightSpace CMS for their colour management and to be re-selected for the new partnership operation delights us greatly as it means they continue to view LightSpace CMS as the best colour management system available.” ,3436
Golden Village Multiplex Goes Fully Digital with Barco,2012-07-31, Golden Village Multiplex in Singapore has completed full digitization of all its locations with Barco's Digital Cinema projectors. Barco technology was chosen for its ease-of-use superb image resolution and modular product design. Golden Village Multiplex boasts one of the widest screens (22.4 meters) in Southeast Asia and it is on this screen that the DP4K projector has been deployed. Kurt Rieder CEO Golden Village Multiplex said “Through our experience of having deployed Barco’s projectors we are assured of Barco’s quality and after sales service. Barco’s projectors are intelligently built with modular parts that are easily replaced and can be used interchangeably across different models. This translates to savings in maintenance time and cost.” Eddie Tan general manager Southeast Asia entertainment and simulation at Barco said “We are very proud to be working with Golden Village on their successful digital deployment helping them achieve their goal of transforming the cinematic experience in Singapore. With our company’s strong presence in Southeast Asia we have always been committed to delivering the highest level of service.” ,3437
International 3D Society Now Accepting Awards Nominations,2012-07-31,The International 3D Society is now accepting nominations for its annual Stereoscopic 3D Technology Awards to be held in November in Hollywood California. The Society's 3D Technology Awards honor technological achievement in the stereoscopic medium including mainly cinema television portable devices special venue themed attractions video games computers and other media. A blue-ribbon 3D Technology Awards panel will vote upon the entries. In these last few years the awards panel has been impressed with the technology advancements standardization and overall improved consumer experience that the technology innovators have brought to market stated Jim Mainard head of digital strategy DreamWorks Animation and chair of the 3D Technology Awards Committee. We expect great things again this year in delivering to consumers the ultimate in 3D experiences. This year marks the Society's third annual 3D Technology Awards. The program will recognize individuals and organizations that have made a significant impact on the advancement of stereoscopic arts and technologies from July 2011 through June 2012. All entries are due by September 30 2012. The 3D Technology Awards Show celebrates the impact and innovation of the organizations and individuals whose advancements are leading this industry said Jim Chabin president of the International 3D Society. The organization is a professional community dedicated to advancing the arts and technologies of Stereoscopic 3D. The 3D Technology Awards Show will feature MasterImage3D passive glasses and technology. Rules regulations and entry forms are available online at www.international3dsociety.com. There is no entry fee for submissions. The submissions deadline is September 30 2012. Nominees will be announced prior to the show. International 3D Society sponsors include Signature Sponsors Panasonic and Korea Telecom as well as Founding Sponsors 3ality Technica Dolby Laboratories DreamWorks Animation Imax MasterImage 3D Pixar RealD Sony Pictures Entertainment The Walt Disney Studios Motion Pictures and Xpand 3D. ,3438
Light Iron Adds Second Hollywood Facility,2012-08-01, Light Iron which just celebrated its third anniversary has acquired an additional facility in Hollywood to support its growing Outpost mobile post-production services. 
 “This expansion signifies our continued commitment to advancing on-set and near-set post production services ” says Light Iron CFO Peter Cioni. “We have been a market leader in mobile services since opening in 2009 and a second facility empowers us to further our global reach.”
 
 The company recently launched a distribution channel for its systems. Called Outpost Enterprise this new program puts mobile systems in the hands of companies or individuals providing services to the production industry. Rental houses stages production companies post facilities and DITs can take possession of a mobile system for minimal upfront costs and only pay for the days they use it. Light Iron bills a predetermined rate to Outpost Enterprise members who can set their own rates to clients in order to create and grow new revenue opportunities.
 
 Light Iron will handle all of its Outpost activities at the new property including R&D fabrication shipping repairs training and support. In addition the facility will enable Light Iron to expand its Outpost University program. “The building is meant to be a resource for industry professionals who want to adopt progressive post production techniques. We’re moving our classroom to Cole and we’re increasing space for hands-on training ” adds Cioni.
 
 Members of the post-production community will recognize the new building as the executive offices of the former Laser Pacific which occupied the property from 2003 to 2011. ,3440
Marcus Upgrades Its Duluth Theatre,2012-08-01,Marcus Theatres has completed a new UltraScreen auditorium and remodeled its cinema in the Duluth Entertainment Convention Center in Duluth Minnesota. The project included the renovation of the former adjacent DECC OmniMax Theatre structure into the company’s 14th UltraScreen adding a Take Five Lounge and remodeling the cinema’s lobby entrance and box office. “The new UltraScreen takes moviegoers to a totally new level of excitement and entertainment with an extremely wide screen award-winning sound custom seating and the amazing D-Box motion seat technology ” said Bruce J. Olson president of Marcus Theatres. The cutting-edge D-Box completely immerse audiences in the viewing experience by making realistic movements and vibrations in perfect sync with the on-screen action. We are excited to introduce this new multi-sensory revolution in movie-watching to our audiences in Duluth.” The patented D-Box MFX technology is available in 29 of the auditorium’s 244 seats for an additional $8.00 per reserved ticket. Each year approximately 15 to 18 movies are programmed with the D-Box system. “We’re delighted to be a part of this new state-of-the-art cinema our first with Marcus Theatres and to introduce a new dimension to moviegoing with our incredibly immersive D-Box MFX experience ” said Claude Mc Master president and CEO of D-Box Technologies. Olson added “The UltraScreen digital cinema experience doesn’t end there. Viewers are put right in the center of the excitement with the 65-foot-wide three-and-a-half stories tall screen. The latest MDX (Marcus Digital Xperience) digital projection technology presents movies in 4K high resolution for superior clarity vivid color and outstanding definition and depth. When it comes to sound effects the 39 000-watt 7.1 digital sound system featuring JBL’s Academy Award winning Screen Array speaker system creates an incredible audio experience. Seating in the new auditorium features new luxurious velour high-back memory-foam chairs designed for the ultimate relaxation and comfort. With the all-encompassing look feel and sound of the UltraScreen moviegoers will enjoy the latest Hollywood blockbusters like never before.” UltraScreen admission is $2 more than standard movie prices. “The Take Five Lounge offers a complete selection of beer wine and creative cocktails as well as a variety of appetizers pizza and finger foods. The lounge seats 65 guests with elegant soft leather seating for relaxing and critiquing the movie while enjoying a favorite cocktail and snack ” added Olson. Additional enhancements to the Duluth Cinema include a relocated box office new entrance and renovated lobby area that connects the UltraScreen auditorium with the existing 10-screen lobby as well as new design elements that extend the existing look and feel of the theatre. Self-service soda stations which are extremely popular with guests at other Marcus Theatres locations have also been added. “The DECC is proud of its reputation as the region’s top venue for unique high-quality entertainment and the addition of the new UltraScreen will further enhance the options available ” said DECC executive director Dan Russell. “With its gigantic UltraScreen the unique D-Box MFX seats plus the Take Five Lounge for enjoying a cocktail and hors d’oeuvres the new entertainment complex will provide a movie going experience unlike any ever seen north of the Twin Cities.” ,3441
New York Triples The Empire State Film Post Production Credit,2012-08-01,The Post New York Alliance has announced that Governor Andrew Cuomo has signed into law a bill tripling the Empire State Film Post Production Credit from 10 percent to 30 percent (35 percent for Upstate).  It is effective immediately. The new post-production credit is a fully refundable 30 percent (35 percent for Upstate New York) tax credit on post-production costs: the main determining factor is that a project must spend 75 percent of the post-production costs in New York. The independent feature The Butler is a prime example of a production that is already planning capitalizing on the production credit.  Producer Pam Williams commented from the New Orleans-based set “We look forward to bringing The Butler to New York to take advantage of world class post-production talent.” Good Universe will be filming Oldboy directed by Spike Lee in New Orleans this fall and is slated for post-production in New York. Matt Leonetti head of physical production for Good Universe said “This tax credit signals that the New York post production community is about to expand by leaps and bounds. We love bringing our shows to New York to post and will be able to bring many of them there because of this credit.” Wayfare Entertainment’s Jeremy Kipp Walker said several of its internationally-based productions plan to return to New York for post production now that the post incentive is 30 percent. “Nothing like this credit exists anywhere else in the United States. It will really help independent filmmakers get access to great talent and facilities available in NY and it will certainly mean a huge increase in vocations in post production for New York State ” he said. “We want to thank Senator DeFrancisco and Assemblywoman Glick for sponsoring our bill and Governor Cuomo for signing it ” said Marcelo Gandola senior vice president of Deluxe Creative Services and President of the Post New York Alliance. “The wheels of New York State government are turning in a direction that will bring thousands of new jobs to our state.” Yana Collins Lehman managing director of Trevanna Post and Post New York Alliance board member added “The film and television industry is one of our economy’s fastest growing exports. Our NYS elected officials broke new ground with the passing of this Post Production Incentive and the Post Alliance plans to expand the entertainment industry throughout the great state of New York.” “This new tax credit provides a wonderful opportunity to grow an already vibrant post production industry in New York ” said Domenic Rom executive vice president of Technicolor – PostWorks New York and a Post New York Alliance member. “We are sincerely grateful to the governor’s office for taking this action which will provide a direct and immediate benefit to the hard-working men and women of our industry.” This program differs from the existing production tax credit in that it applies to projects that are not necessarily shot in New York.  Its primary goal is to incentivize such projects to bring their post-production to New York State. ,3442
Digital Domain Settles 3D Lawsuit with Prime Focus Signs Reliance,2012-08-01,Digital Domain Media Group and Prime Focus World have signed an agreement whereby Digital Domain Media Group will license its 3D conversion technology to Prime Focus World. The agreement settles and terminates the patent infringement litigation action filed by DDMG against Prime Focus World in 2011. Under the agreement DDMG and Prime Focus World will collaborate on visual effects and 2D-to-3D conversion services work for feature films. In related news Reliance MediaWorks an Indian film and entertainment services company and a member of the Reliance Group has joined the Digital Domain Media Group’s 3D technology licensing program. “Ultimately this was a lawsuit between two companies that enjoy working together so we’re happy to put it behind us and resume our prior relationship with Prime Focus – one of performing high-quality VFX work collaboratively ” said John Textor CEO and chairman of DDMG. “We understand that Prime Focus has its own significant 3D technology and we are pleased to report as this license suggests that they respect ours as we respect theirs.” “Prime Focus is dedicated to delivering the highest level of conversion to its clients. The technology that we’ve licensed from Digital Domain Media Group enhances our own robust proprietary processes and increases our efficiency for our customers. We look forward to continuing our work with DDMG on their most important VFX projects ” said Namit Malhotra CEO and chairman of Prime Focus World.” Reliance MediaWorks also Digital Domain’s preferred visual effects production partner in London and Mumbai joins Prime Focus World and Samsung Electronics who have also licensed Digital Domain’s 3D technology for 2D-3D conversion services and consumer electronics respectively. The Digital Domain Stereo Group owns the six U.S. patents that represent the original commercially feasible computerized process for converting two-dimensional filmed imagery into three-dimensional stereoscopic imagery. The patents provide fundamental coverage of any modern 2D to 3D conversion process. The patents principally involve rotoscoping (i.e. computerized semi-automatic and semi-automatic conversion with roto) and relate to any conversion process that includes horizontal image displacement/transform. Beginning with its license to Samsung Electronics in late 2011 DDMG made its patent portfolio available to select companies in the broader industry through a studio-friendly licensing program. “We have made clear our view that while down-line technologies are certainly important the current 3D feature film businesses is principally dependent on image capture and image creation either the proprietary technology of native 3D camera pioneers such as the Cameron Pace Group or the 3D stereoscopic conversion pioneers of In-Three/Digital Domain ” said John Textor chairman and CEO of Digital Domain Media Group. “We continue to be pleased with our new licensing efforts as important global companies such as Samsung and Reliance recognize the value of our invention. We look forward to an increasing financial participation in the growing 3D industry that we helped to create.” ,3443
Quvis Announces Wraptor DCP Services,2012-08-01,Quvis Technologies has announced the availability of Wraptor Digital Cinema Package services. Available immediately Quvis now offers indie filmmakers a fast reliable and attractively priced alternative for creating archiving and distributing studio quality DCPs. With all cinemas expected to convert to digital projectors by 2015 the Digital Cinema Package is replacing film print as the standard cinematic format globally. Up until now filmmakers have paid anywhere from $5 000 to $20 000 to convert their films to DCP. With Quvis DCP services the company is making it easy and affordable for filmmakers to not only convert films to DCP but also archive and distribute them easily to film festivals. Studios distribute in DCP for a reason – the quality is better said Quvis CEO Kenbe Goertzen. Indie filmmakers are increasingly required to convert and distribute their projects to film festivals in DCP. It delivers a better exhibition and that is why studios don't distribute to cinemas in Blu-ray. With Quvis we make it affordable for Indies to make a professional grade DCP. Now with our Wraptor DCP service offering we're taking it even further by offering everything from DCP conversion to archiving your film and managing the distribution. Film festival programmers are responsible for viewing hundreds and sometimes thousands of movie submissions a year and they're always looking for the simplest and most cost-effective viewing experience as well the best quality picture said Laurie Kirby executive director of the International Film Festival Summit a conference for festival organizers. Fortunately new technology makes it possible to stream submissions eliminating the need for DVDs. More festivals are exhibiting in DCP format so filmmakers and festivals will definitely benefit from this type of DCP service and distribution package. ,3444
Sony Digital Cinema Sells First SRX-R515 4K Projector to Spurling Group,2012-08-01, Spurling Group Cinema the leading Irish independent cinema chain has purchased the first Sony SRX-R515 4K projectors for its site in Dungarvan Ireland. The projectors will be installed in November.
 
 With Sony’s launch of the SRX-R515 smaller exhibitors like SGC will now be empowered to expand their current role to become entertainment venues offering new services beyond traditional content such as sports music theatre opera multi-user big screen gaming and cultural events. Not only that they will have earlier access to a broader variety of films and be able to host film premieres simultaneously with the multiplexes.
  Graham Spurling managing director of Spurling Group Cinemas says “We have always been at the forefront of technology in our cinemas as we are fully aware of the benefits that digital cinema brings to us as a smaller independent chain. The new Sony 4K projector is full of technological innovations like 4K resolution outstanding contrast ratio and new lamp systems that deliver a truly superior viewing experience to our customers.”
  “This partnership further emphasizes our passion for the longevity and quality of the cinema industry globally. It will enable SGC to capitalize on the enormous opportunities that digital cinema offers to strengthen and sustain their business as well as to revolutionize the movie-going experience ” says David McIntosh director Sony Digital Cinema. “The new SRX-R515 with its outstanding image quality operational versatility and low cost of ownership showcases Sony’s long-term commitment to delivering the ultimate entertainment experience to the independent cinema market.”
  Spurling Group Cinemas will also be the first cinema to benefit from Sony Digital Cinema’s new exhibitor-owned VPF plan. ,3447
New Report Looks at the Next Phase of Media Growth,2012-08-01,The first phases of digital cinema and HDTV have matured. Companies are now assessing what to do next for growth and are making their moves now. A recently released report looks at five elements of the digital entertainment experience in the theater and the home. It summarizes the current situation and rules that the industries have followed so far. This report then goes on to list 14 new rules that point to how the industry is (or may be) moving into the next phase.    The transition from the analog world of entertainment to a digital media world was based on old rules. That is digital media solutions have been focused on substituting digital for analog. It is like when TV was first available and old radio shows were moved to TV. It wasn't until TV got a bit more established that TV became its own medium.    Now that the entertainment world is comfortable with the transition to digital media people are now asking why some of the old rules are there. A simple example is the old rule that movies should be shot at 24 frames per second an old rule from the 1920s. The Hobbit is the first tent pole movie shot in 48 fps. It is helping to set a new rule that movies don't have to adhere to 24fps. But the new rule is a bit more complicated than just saying 48fps is coming; there is a paradigm shift that is now possible to think about that provides a better experience without having to incur the costs the Hobbit absorbed. The new rule we are hinting at is explained in this report.    Whenever a company seeks growth a good place to look is where there is change. These new rules mean change for companies involved in digital cinema television consumer electronics storage and networking. For more information:    http://www.researchandmarkets.com/publication/ydfkky/3d_and_beyond_chang... ,3448
Planet Earth Playing Twice Daily at Technorama,2012-08-01,The Planet Earth is playing twice daily at the Orbitarium at Switzerland’s Technorama science center. From its location in the town of Winterthur Technorama offers a series of experimental spaces that gives visitors of all ages and backgrounds the chance to become acquainted with natural phenomena in an informal hands-on and self-directed way. One such space is the Orbitarium which first opened in 2008 as a way of giving visitors an ‘astronaut’s eye’ of Planet Earth and the natural events that take place around it such as hurricanes tsunamis and earthquakes. The exhibit used a projected globe as its centrepiece and was considered a success. But as Thomas Hofer Visualization Director of Technorama explains there was something missing: “As important and interesting as natural phenomena may be they appeared isolated and lacking in real-life relevance in the original Orbitarium design. We decided we needed to develop a show that would highlight the uniqueness of our planet and to put Earth in context of the space that surrounds it – the Moon the Sun the stars and so on.” This show was given the title Planet Earth – Cosmic Oasis and Technorama’s technical staff began working on ways in which the Orbitarium could be enhanced to make the show come to life. “Life on Earth doesn’t rely on our planet alone ” continues Hofer. “It relies on its neighbourhood in the solar system so what could be better than to expand the horizon of the Orbitarium with a huge panoramic canvas in the background?” While neither the curved panoramic canvas nor the projected globe are new ideas in themselves the combination of the two together to create a three-dimensional Cosmic Theatre is what sets the Orbitarium project apart from any other installation. The creation of such a space created a number of technical issues as Hofer explains: “To completely illuminate the background canvas without the globe casting shadows in front was made possible only by a combination of specific short-throw projector lenses and significant use of lens shift. Another challenge was to control the presence of unwanted light which might come from any of three sources: the background canvas projection the globe projection and the light from outside the Orbitarium. All of these are capable of casting unwanted diffuse light onto the wrong surfaces.” Technorama staff carried out much of the AV system design and integration work themselves and Hofer says projectiondesign was the obvious choice for the new-look Orbitarium. “We’re using two FL32 ReaLED projectors for the globe projection and two edge-blended cineo32 projectors for the panoramic canvas. Both pairs of projectors are running at full 1080p resolution. “We evaluated a lot of different projector combinations but only projectiondesign was able to meet our specific needs for performance lens-throw ratio and reliability. We also received wonderful support during installation from projectiondesign’s headquarters in Norway and from the company’s Swiss distributor Visopta.” A fully automated multimedia show that can be controlled via touchscreen by Technorama staff Planet Earth – Cosmic Oasis plays twice a day to capacity audiences of 60 at a time – though it is not uncommon for additional performances to be played at busy periods. The show appeals to all age ranges and has earned rave reviews from audiences. Anders Løkke marketing director projectiondesign said “We are continually amazed at the way our end-customers keep finding new ways to use our projection technology and the Orbitarium at Technorama is a great example of this. The more unusual the application the more our ability to offer bespoke lens combinations proven reliability and class-leading levels of service comes to the fore. We’re delighted to be associated with this pioneering project and look forward to many more such installations in the future.” Photo © Thomas Hofer Technorama Switzerland ,3451
3D Paint/FX to Convert Front Row’s 2D Library,2012-08-01,The Writers Group Film Corporation through its wholly-owned subsidiary Front Row Networks a Los Angeles-based concert production and distribution company has entered into an agreement with 3D Paint/FX to supervise its media conversion of existing 2D content libraries and other emerging content into stereoscopic 3D for distribution into the 3D marketplace worldwide. 3D Paint/FX based in Santa Monica California is a visual effects studio specializing in digital workflow stereoscopic production 2D to 3D conversion and technology integration. 3DPaint/FX's process involves additional partners with rotoscoping and 3D experience including a vendor in India that can handle large volumes of detailed and complicated rotoscoping in a very cost-effective manner. For the Fox title I Robot we had 120 000 frames of rotoscoping. Our partner can do 70 000 frames a month. It would be hard to set that up here in the U.S. with the same economies of scale. We have developed a pipeline that functions well for libraries like Front Row's said Thomas Polson managing partner of 3D Paint/FX. 3D Paint/FX's recent feature work includes Rescue Dawn I Am Legend Mostly Ghostly and Dark Streets. Their client list includes Stardust Chrysler Comedy Central Saban Entertainment Fox Kids Network Warner Home Video Fox Latin America Universal TV Seiniger Advertising Keller Entertainment Zotos International Information Builders Pittard Sullivan Norman Lear and Vanity Fair. As part of this relationship 3D Paint/FX will coordinate post-production quality control and 3D conversion opportunities for Front Row Networks as it continues to acquire more content for its library. Our goal is to generate quality 3D content for multiple platforms and 3D Paint/FX's rotoscope and paint services combined with other conversion technology will significantly improve the costs of the conversion process and enhance our quality assurance levels for upcoming conversion opportunities said John Diaz CEO of Writers Group. ,3452
AAM and Cinevise Announce Deal with SuperCines in Ecuador,2012-08-14, Arts Alliance Media and Cinevise the Miami and São-Paulo based digital cinema systems supplier have announced a software deal with SuperCines Ecuador’s leading circuit. The deal will see AAM’s Screenwriter theatre management system installed by Cinevise in over 150 SuperCines screens across Ecuador. AAM and Cinevise have been working together since 2011 when they signed their first software licensing agreement that is bringing AAM’s TMS into all of Cinemais’ theaters in Brazil. The Supercines deal is Arts Alliance Media’s first in Ecuador and significantly expands the company’s presence in Latin America. Cinevise will also provide SuperCines sites with monitoring services from its Global Network Operations Centre. Martin Schwartz of SuperCines said “We have been working with a demo version of Screenwriter for a while now and have been impressed with its ease of use and its comprehensive features. We’re pleased to announce a wider rollout of the software into our screens across Ecuador with monitoring by Cinevise. We look forward to continuing to work with Cinevise and AAM to extend our relationship. Alex Younger of Cinevise added “We have been working with SuperCines for 20 years now and we’re delighted to supply them with AAM’s best in class TMS software as well as monitoring and supporting their digital sites. We look forward to continuing our discussions with them and working with other exhibitors throughout Latin America to bring the best software to them as they convert to digital.” Eric Stevens commercial director of Arts Alliance Media said “We’re tremendously excited about this opportunity in the Latin American market and thrilled to be making our first deal in Ecuador. The digital cinema market in the region is beginning to move faster and we hope many other exhibitors will follow the digital path taken by our friends at SuperCines.”