MTI Film Selects T-Vips Video Gateways for Remote Color Correction and Daily Screening
 


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Fri, 10/14/2011 - 20:00 -- Nick Dager

MTI Film has selected a video transport system from T-Vips to facilitate remote collaboration of the 2012 revamp of TV's iconic Dallas series. Featuring old and new generations of the Ewing dynasty at Southfork Ranch the TNT show is also updating its post-production methods to enable real-time transport of show dailies between its Dallas studio and MTI's color correction facilities in Los Angeles. 
  Larry Chernoff CEO and founder of MTI believes that the inherent flexibility and cost-effectiveness of transmitting media over IP networks will soon be standard for post-production. He says For this show the producers want to screen and approve dailies in Dallas using our Remote Control Dailies system. They also want highly accurate color correction using our staff colorists in Los Angeles. It’s critical for our business model that MTI leverages its talent for more than one production at a time. So much production is now being done outside Hollywood we feel that remote image correction and dailies processing is the most efficient solution. 
 
 Chernoff predicts that as his customers begin to appreciate the benefits and ease of this approach the use of video delivery over IP for creative collaboration will skyrocket.
 
On the recommendation of its systems integrator Mercator Digital MTI purchased T-VIPS’ JPEG2000 Video Gateways. These compact 1RU models utilize JPEG2000 compression for robust transmission of HDTV (and SD) signals over Gigabit Ethernet with 10-bit video resolution at bitrates from 50Mbps to 200Mbps. T-Vips’ Video Gateways deliver visually lossless HD video with frame-by-frame encoding minimal latency flexible forward error correction error concealment ancillary data support and built-in redundancy while allowing user-friendly configuration as encoder or decoder. 

MTI’s new IP-based transport solution also represents a highly cost-effective option ensuring a more efficient workflow and reduced operating costs. Chernoff says We’ll devote roughly 50Mbps in each direction for the color correction on this project. The quality of the video provided by the T-Vips’ Gateway at this relatively low bandwidth was a major attraction for us. 
 
 Regardless of their location MTI clients can now review and discuss dailies in real time without waiting for tape delivery or file transfers. Each collaborator enjoys the same high quality accurate color reproduction at the same time just as if they were sitting side by side in the screening room. Using affordable IP-based networks the creative team can make key decisions without delay increasing productivity and reducing production costs. In addition to remote screening and approvals in the post-production workflow T-Vips Video Gateways are ideal for applications in professional broadcast contribution of live sports and events studio-to-studio media exchange remote production and in-house signal distribution. 
 
 Janne Morstol COO of T-Vips says It's our mission to equip our customers with the intelligent tools they need to move high-quality video efficiently around the globe. T-Vips dedicated to creating innovative technology that shrinks the distance between designers colorists producers and directors for a genuinely collaborative creative workflow.”
  T-Vips www.t-vips.com ,2823
UFO Moviez India Announces Major Expansion Plans,2011-10-15,UFO Moviez India has announced major expansion plans in India of Scrabble Entertainment Limited in which UFO Moviez has recently acquired a controlling stake. The company will fund the $150 million international roll out plans with international debt and further equity infusion. Kapil Agarwal joint managing director UFO Moviez says The UFO-Scrabble combine is the only alliance in the world that offers non DCI satellite based digital cinema solutions as well as DCI-compliant solutions with virtual print fee deals to the global and Indian film industry. By acquiring majority stake in Scrabble UFO Moviez has reiterated its commitment to ensuring that the Indian film industry ecosystem benefits from the resulting cost-efficiency and increased reach of content by taking Hollywood content to cinema lovers across Bharat and beyond its metros. We shall ensure that this Indian combine started by first generation entrepreneurs now goes global. Ranjit Thakur CEO Scrabble Entertainment says Scrabble is happy to partner with UFO Moviez an organization that has changed the landscape of the film industry in India by offering innovative technology solutions for its betterment and growth. We look forward to ensuring that more and more audiences across India can now enjoy high quality films on a digital platform. UFO Moviez India recently acquired a majority stake of 52 percent in Scrabble Entertainment. Dr. Sunil Patil and Thakur presently own 27 percent stake and the balance equity is held by Walkwater Media which is owned by Manmohan Shetty. Scrabble Entertainment a Mumbai based first generation company founded by Patil and Thakur is the only aggregator in India which has VPF rights from Hollywood studios for providing DCI-compliant theatres. In terms of the domestic market the UFO-Scrabble combine will now increase the number of DCI compliant cinemas from 300 (that Scrabble has presently installed in around 30 major cities since its inception in 2007) to 800 (single screens as well as multiplexes) within six months. This will ensure that cinema viewers in Tier 2 and Tier 3 cities in India will now get a chance to watch Hollywood content because the six Hollywood studios only give content to DCI compliant platforms. Scrabble Entertainment www.scrabbleentertainment.com UFO Moviez India www.ufomoviez.com ,2824
Ymagis Reaches Agreements with Baditri and Olwyn Films,2011-10-15,Ymagis has reached a non-exclusive agreement for digital cinema deployment in Spain with distributors Baditri and Olwyn Films. Ymagis has agreements in place with all six majors distributors. This new deal opens the door for Spanish independent distributors to participate in the deployment of digital cinema in Spain. Under these agreements both distributors will provide their content in digital format when programming films with Spanish exhibitors equipped with DCI-compliant digital cinema systems under agreements with Ymagis. They will provide financial contributions during an agreed period of time contributing to the promotion of digital cinema in Spain. These agreements together with those already in place between Ymagis and Paramount Pictures Corporation The Walt Disney Studios Twentieth Century Fox Film Corporation Universal Pictures Sony Pictures and Warner Bros will enable Ymagis to provide tailored solutions for Spanish exhibitors in their efforts to equip their cinemas with DCI compliant systems. This will bring benefits to both distributors and exhibitors including but not limited to a greater quality consistency for their virtual prints and greater copyright protection. Antoni Badimón from Baditri says “Digital cinema is a now a requirement to bring content to our audiences and fits in with our distribution strategy. Now that more than 35 percent of cinemas showing films every day in Spain have been equipped  independent distributors cannot delay any longer being part of this transition. Soon digital cinema will allow us to switch from the other formats we were using until now.” “Our audiences will enjoy the same quality regardless and probably will be able to find our films in more cinemas. We’ll start this agreement with the release of Transgression by Enric Alberich on November 21 our first digital release.” Manel Carreras Ymagis general manager for Spain and its sales and business development vice president says “We are delighted to receive Baditri’s and Olwyn Films’ support for our deployment of digital systems. Independent distributors’ participation is essential to our efforts to find solutions for Spanish exhibitors. With this step once more we confirm the importance of independent distribution in this period of transition to digital.” ,2825
Twenty-seven AFI Fest 2011 Films to Screen at American Film Market,2011-10-31, A total of 27 films selected for the American Film Institute’s AFI Fest 2011 presented by Audi will also be represented at this year’s American Film Market November 2-9 in Santa Monica California.
 
 The association with AFI Fest the festival partner of AFM connects art and commerce broadening the opportunities for participants at both events. Eleven AFI Fest films will be screened at AFM such as Café De Flore (Films Distribution); Footnote (WestEnd Films); Headhunters (Magnolia Pictures); I Melt With You (Magnolia Pictures); Kill List (Protagonist Pictures); Miss Bala (Fox International); Rampart (Sierra/Affinity); and Snowtown (Protagonist Pictures).
 
Sixteen additional Festival selections that will be represented at AFM include; The Artist (The Weinstein Company); Attenberg (The Match Factory); Beyond the Black Rainbow (Magnolia Pictures); Bonsái (UFO); Bullhead (Celluloid Dreams); Carnage (Medusa); Coriolanus (Icon Entertainment); Hanaan (M-Line Distribution); Jiro Dreams of Sushi (Magnolia Pictures); The Lady (EuropaCorp); Mama Africa (Fortissimo Films); Melancholia (Magnolia Pictures); The Silver Cliff (Celluloid Dreams); We Need to Talk About Kevin (Independent); and With Every Heartbeat (The Yellow Affair). The AFM is produced by the Independent Film & Television Alliance. IFTA http://www.IFTA-online.org ,2829
Amerisis Studios to Launch with Baselight Color Grading System,2011-10-31,Amerisis Studios a newly launched post-production facility in Quito Ecuador has purchased FilmLight’s Baselight color grading system and will use it as the centerpiece of its service offering for film television and advertising projects. Offering high-end color grading and finishing services Amerisis Studios is the first post-production facility of its kind in Ecuador and will target the country’s rapidly growing production industry. “Previously producers seeking high quality post services have had to travel to Columbia or Argentina ” says Amerisis Studios general manager Alvaro Duran. “With Baselight we will be able to service films commercials and other projects at a level on par with top media centers around the world.” Duran adds that Amerisis Studios opens officially in December. Duran notes that film production in Ecuador has more than tripled in the past five years. Commercial production has seen a similar increase. Duran who is also an accomplished cinematographer first became aware of Baselight while a graduate student at the London Film School. “I saw Baselight in action at some of the top post houses in London and was impressed with what it could do ” he says. “I thought it would be wonderful to introduce a system so complete to the market in Ecuador.” Duran adds that he received excellent support from FilmLight in selecting a Baselight system for Amerisis. “It’s been fantastic ” he says. “We had many discussions about our needs and the idiosyncrasies of our market. I’m very happy we’ve made the decision to move forward.” ,2831
Prehistoric Digital Installs Barco DP2K-P Projector,2011-10-31, Los Angeles post-production facility Prehistoric Digital has installed a Barco's DP2K-P digital cinema projector in its new studio. A specialist in digital intermediate color correction and related post-production services Prehistoric Digital partner Kevin Cannon says he wanted the best technology to position the company for bigger work on independent theatrical releases. “After seeing a few demos of the Barco DP2K-P we knew it would meet our standards for absolutely pristine image and color accuracy ” Cannon says. “There's no question that what you're seeing on the Barco projector is 100 percent accurate and true. The DP2K-P is a huge asset as we grow our business and will be essential in targeting future opportunities.” 

 Prehistoric Digital used the DP2K-P for post work on a new independent film releasing this month entitled Northeast written and directed by Gregory Kohn and slated to appear at the Tribeca Film Festival On the Road series in several major U.S. cities during October. 

 “My experience is that Barco's DP2K-P is a great projector for the post community. Color space is huge field uniformity is almost perfect and the special post-production version of Barco's Communicator software gives you full control of the image parameters with ease of use ” says Bevan Wright executive vice president of operations for Moving Image Technologies. “We're recommending it highly to all of our post customers looking for a highly capable accurate post-production projector that's also affordable.”  

“Barco has maintained a steadfast commitment to the post-production industry meeting the exacting performance demands of post houses and review rooms for many years ” says Patrick Lee vice president digital cinema for Barco. “Contrast brightness uniformity and accurate color are essential to creating the brilliantly colored and dynamic movie images of our time and are hallmarks of our complete line of digital cinema projectors.”  

Moving Image Technologies www.movingimagetech.com Prehistoric Digital www.prehistoricdigital.com ,2832
Blackmagic Design Releases DaVinci Resolve 8.1,2011-10-31, Blackmagic Design has announced that DaVinci Resolve 8.1 is now available. The update is available to all DaVinci Resolve customers free of charge and can be downloaded from the Blackmagic Design web site.

 The new Resolve 8.1 software update includes support for Apple Final Cut Pro X XML round trip new layer node composite effects ACES colorspace support compatibility with Avid AAF for round trip with Avid Media Composer Final Cut Pro 7 clip size and position support new copy commands for grades upgraded EDL features support for UltraStudio 3D for Thunderbolt and compatibility with the 2011 MacBook Pro 15-inch computer.

With this new update DaVinci Resolve can now import and export Final Cut Pro X timelines using the new Final Cut Pro rich XML file format. When working in Final Cut Pro X customers will get full timeline round trip where projects can be moved between Final Cut Pro X and DaVinci Resolve retaining the multi track timeline with frame accurate cuts dissolves and even speed changes. DaVinci Resolve will also use rich XML from Final Cut Pro X to link to original camera footage. DaVinci Resolve supports full media management for Final Cut Pro X projects including additional source clip folders and alternate image source when conforming edits in Resolve. Because DaVinci Resolve supports grading of high resolution and bit depth files edits can be exported out of Final Cut Pro for finishing in the highest quality. An alternative workflow is to use DaVinci Resolve 8.1 to manage extremely high-resolution raw image formats such as Red Arri CinemaDNG and DNxHD and then to grade and render to ProRes or uncompressed media for Final Cut Pro X.

DaVinci Resolve 8.1 now includes new layer node composite effects which offer colorists even greater creative grading with add subtract difference multiply screen overlay darker and lighten effects. Colorists will be able to use these new composite effects to create extremely complex and intricate grades with limitless power.
 DaVinci Resolve 8.1 now includes ACES color space support. ACES and IIF is a new color space and file format promoted by the Academy of Motion Picture Arts and Sciences technology committee to provide a universal and open image interchange and processing format. The ACES IIF file format is fully supported and includes a variety of IDTs and ODTs as well as support for 3D shaper LUTs. DaVinci Resolve 8.1 allows colorists to work in this format seamlessly and even the free of charge DaVinci Resolve Lite includes ACES colorspace so upcoming videographers will have access to the latest Hollywood technology.

 To improve compatibility with customers using Avid Media Composer DaVinci Resolve 8.1 now includes improved support for Avid AAF import/export for roundtrip editing to Resolve and back to Avid Media Composer. This new AAF support includes effects such as dip to color edge and center wipe with border clock and venetian blind wipe and also cross oval and diamond iris wipe overlay composite and more. Also includes support for Avid sizing with pan tilt zoom and rotate.

 Additional support is included for Final Cut Pro 7 round trip with clip by clip selectable import of image sizing data now possible. Import sizing and position data for all or selected clips is available to allow renders using the extremely high quality DaVinci Resolve image resizing engine.

New cut copy and paste operations for editing and node metadata including dynamics have been added to DaVinci Resolve 8.1 allowing much easier and dramatically faster editing of clips in the timeline and copying grades between nodes. DaVinci Resolve 8.1 also includes new conform features including the abilities to export missing clips EDL and import new EDL to a track. This simplifies finding and replacing missing clips in long form projects and is great for changing VFX shots. This DaVinci Resolve update is now even faster to use with an exciting new 'hover over node' grading status display to reveal lists of changed grades within the node.

DaVinci Resolve 8.1 increases support for hardware including full compatibility with the Apple Early 2011 MacBook Pro 15-inch with 1680x1050 display as well as the new UltraStudio 3D for Thunderbolt technology based computers. Support for UltraStudio 3D allows video monitoring and deck I/O from the latest iMac and MacBook Pro computers that support Thunderbolt technology.

 Other new features included in DaVinci Resolve 8.1 includes support for clip by clip scaled or unscaled data range color space conversions support for clip by clip color space selection in case a source clip has been incorrectly encoded renders now support video or data levels and support for HDR source icons in the timeline thumbnail for Red HDRx clips.

DaVinci Resolve 8.1 is available now as a free download for all current DaVinci Resolve customers.

 Blackmagic Design www.blackmagic-design.com ,2834
Blue Sky World to Open Central Africa’s First Imax Theatre,2011-10-31, Blue Sky World Entertainment has signed an agreement to install a digital Imax theatre system at the 20th Century Plaza in Nairobi Kenya. The theatre which will be the first in Central Africa will open in March 2012. Our commercial theatre network has nearly doubled in the last two years and our entry into Central Africa reflects the growing international appeal of the Imax brand which currently has a presence in nearly 50 countries says Imax CEO Richard L. Gelfond. We anticipate that today's announcement will set the stage for greater opportunities for us in the region. We are proud to be the first exhibitor to bring the Imax Experience to Kenya. The historic 20th Century Plaza is located in the heart of Nairobi and the addition of an Imax theatre is symbolic of the evolution of the cinema industry in Central Africa where the demand for a premium cinematic experience is growing says Alexei Serkov the authorized representative of Blue Sky World. Larry O'Reilly president worldwide sales Imax says We are pleased to join forces with Blue Sky World and bring awe-inspiring entertainment to moviegoers in Kenya in a format that only Imax can deliver. Blue Sky World is an investment company which was set up in 1994 and participates as an investor and founder in different companies in the field of media film and marketing services in Europe and Africa namely Austria Latvia and Kenya. Angel Media Limited director Adam Kahindi will manage the theatre. Angel Media was established in 2010 specifically for managing the Imax cinemas in East Africa. Angel Media Limited www.angelmedia.co.ke ,2835
Carlyle-Led Consortium Acquires 80 Percent Stake in GDC Technology,2011-10-31, A Carlyle-led consortium including Yunfeng Capital has closed the acquisition of an approximately 80 percent stake in digital cinema server manufacturer GDC Technology. Carlyle Asia Growth Partners IV a $1 billion fund targeting high-growth companies led the investment. Dr. Man-Nang Chong founder of GDC Tech will continue to lead the company as CEO and remain a significant shareholder. The new shareholder will continue to support GDC Tech’s growth strategy and accelerate its penetration of digital movie screens in Asia and around the world. Further details of the transaction were not disclosed. Dr. Man-Nang Chong in Hong Kong founded GDC Tech 12 years ago; it has since developed into a global player with its products and systems distributed to more than 20 countries globally and an established presence in the U.S. China Europe Singapore Japan and Hong Kong. With more than 11 000 installed servers as of September GDC Tech ranks second globally based on publicly disclosed installed servers worldwide. Emerging markets led by China are expected to experience the fastest growth in digital movie theatres with faster adoption of new movie technologies faster upgrade and shorter replacement cycles outpacing the rate of digitalization in most developed markets. According to a recent study by Entgroup Consulting an entertainment research group China’s cinema digitalization level is as high as 70 percent. GDC Tech believes it is well positioned to further capture this exponential growth in cinema digitalization. GDC Tech believes it is China’s largest digital cinema server provider with more than 4 500 installed servers representing a 54 percent market share and Asia’s largest player based on its more than 6 800 installed servers. “We are honored to join the Carlyle family ” says Chong founder and CEO of GDC Tech. “Carlyle’s investment will accelerate our global market expansion and further enhance our customer network. Carlyle has a strong presence in the media and technology sector. We will be able to leverage its resources and relationships to further expand our business strengthen our R&D efforts grow in new markets and develop partnership and business opportunities with and beyond Carlyle’s current portfolio of companies.” Wayne Tsou managing director and head of Carlyle Asia Growth Capital group says “GDC Tech’s sustained development market leadership and strong management team inspired our confidence in the company’s adaptable expansion model and high growth potential. We are excited to play an enabling role in the global cinema digitalization by supporting GDC Tech and Dr. Chong. We look forward to contributing our experience in the media sector and Carlyle’s global network of relationships to accelerate the growth of the company.” Carlyle Group www.carlyle.com GDC Technology www.gdc-tech.com ,2836
CinemaCon Returns to Caesars Palace April 23-26,2011-10-31, CinemaCon the official convention of the National Association of Theatre Owners has announced that its 2012 conference will be held April 23-26 in Las Vegas at Caesars Palace. The Coca-Cola Company will be the Official Presenting Sponsor for the second straight year. “Without a doubt the success we achieved in year one exceeded our expectations and we have our friends in distribution and exhibition to thank. The support CinemaCon received in our inaugural year was simply amazing. But now it’s onto year two and we need to raise the bar even higher — which is a challenge we embrace wholeheartedly ” says Mitch Neuhauser managing director of CinemaCon. “To have The Coca-Cola Company returning as our Official Presenting Sponsor is an incredible vote of confidence and reinforces Coke’s dedication to promoting the theatrical experience worldwide. They are a wonderful partner to work with and we are excited they will be joining us in our return to Caesars Palace.”
 
 CinemaCon expects to attract nearly 5 000 motion picture professionals from all facets of the industry—from exhibition and distribution to the equipment and concession areas. The International Cinema Technology Association and National Association of Concessionaires are trade-show partners. 
  CinemaCon www.cinemacon.com   ,2837
CinemaxX Denmark Holds the World's First 4K Film Festival,2011-10-31, CinemaxX’s movie theatres in Copenhagen Odense and Aarhus held what it called the world's first 4K Film Festival from September 22-28. Entitled “Past Film Classics in Future Format ” the movies were all true classics and were shown using Sony Digital Cinema 4K projection systems. 
The festival took place in the chain's cinemas in Copenhagen Odense and Aarhus.
 
CinemaxX selected nine classic films that continue to thrill and move cinema audiences. The films were chosen based on criteria for both technical and artistic quality. Prior to selection the movies were restored and transferred to 4K digital media. The film classics shown included: Gentlemen Prefer Blondes starring Marilyn Monroe directed by Howard Hawks
Bridge over the River Kwai starring W. Holden & Alec Guinness directed by David Lean
North by Northwest starring Cary Grant directed by Alfred Hitchcock
Dr. Strangelove starring Peter Sellers directed by Stanley Kubrick
The Sound of Music starring Julia Andrews directed by Robert Wise
The Red Shoes starring Moira Shearer directed by Michael Powell
Taxi Driver starring Robert De Niro and Jodie Foster directed by Martin Scorsese
True Grit starring Jeff Bridges directed by the Coen brothers
Inception starring Leonardo DiCaprio directed by Christopher Nolan. I was very impressed with the nine selected films which manage to stay relevant in their own ways despite their age. And I have great respect for CinemaxX which has taken the initiative to bring together film enthusiasts by combining old movies with the latest technology says Oliver Pasch head of professional digital cinema at Sony Professional.
 
 Pasch along with Rikart Købke head of films at CinemaxX Denmark and the chain's technical director Jesper Helbo took part in a workshop for the Festival held for the Danish media. This enabled the assembled journalists to experience Sony Digital Cinema 4K compare it to 35 mm film and see examples of the possibilities of the new format. The journalists also got to see 4K camera footage shot by the recently announced Sony F65 camera. The European cinema chain CinemaxX and Sony Professional have a close and long-standing relationship. They plan to continue the roll out of Sony Digital Cinema 4K in CinemaxX cinemas allowing the format to be experienced in all of the chain's 292 screens in 31 theatres in Germany in addition to the three in Denmark. ,2838
Cinepolis to Install MasterImage 3D in Theatres in Mexico Brazil,2011-10-31, Cinepolis which claims to be the fourth largest exhibitor circuit in the world and the largest outside of the United States will install MasterImage 3D's new MI-Clarity3D digital 3D system and MI-1000 dual projection 3D glass filters in cinemas throughout Mexico and Brazil. Cinepolis operates 275 theaters with more than 2 500 screens across Mexico  Guatemala  El Salvador  Costa Rica  Panama  Colombia  Brazil  Peru and India. MasterImage 3D offers a unique combination of picture quality and color fidelity with a sensible business model says Gabriel Morales Becker Technology Strategy Manager at Cinepolis. With the MI-CLARITY3D they offer a comprehensive portfolio for various projection room environments. Cinepolis is one of the best run and innovative companies in the exhibition business says Peter Koplik president of digital cinema at MasterImage 3D. We are gratified by their confidence in MasterImage 3D and pleased that our technology will enable theatre patrons across Latin America to enjoy great 3D movies. ,2839
CSI and Christie Announce Financing for Digital Cinema Conversions,2011-10-31, CSI Leasing and Christie have announced financing to support Christie’s recently announced Virtual Print Fee program for North America. Christie’s VPF program is a simplified way for theatres to transition to digital cinema projection systems. CSI is providing a streamlined and straightforward lease structure allowing U.S. and Canadian movie exhibitors to easily implement the VPF program. The exhibitors are independent businesses that need to add digital cinema to their theatres without having to share any future revenue stream. Christie and CSI understood this when developing the VPF equipment financing solution says Bob Rinaldi senior vice president of CSI. We listened to many exhibitors in the U.S. and Canada about their needs and I think we hit the mark The Virtual Print Fee program is a proven business model but only if the program is simple to join affordable and easy to operate. These are the hallmarks of the Christie VPF program which combines Christie technical and support brilliance with the business acumen of CSI Leasing says Craig Sholder vice president entertainment solutions of christie. We are delighted to team with CSI Leasing so that exhibitors can quickly make the transition to digital cinema and reap the benefits of the vastly improved picture quality that digital delivers. CSI Leasing www.csileasing.com Christie Digital Systems www.christiedigital.com ,2841
Digital Domain Standardizes on Tweak Software for Stereo Dailies ,2011-10-31, Digital production studio Digital Domain has standardized on Tweak’s RV and RV-SDI software to enable a common collaborative viewing experience from desktops to screening rooms for image sequence and 2K stereo dailies review throughout its studios. “Digital Domain has artists facilities and partners all around the world. Our goal was to create a unified and universal user experience for watching dailies and conducting collaborative reviews. Artists can be at their desks doing one-on-one reviews with colleagues at other locations or in conference rooms or in screening rooms doing group reviews – anything is possible ” says Digital Domain technology project manager Ryan Mayeda. “With RV and RV-SDI we were able to create that experience not only within studios but across them remotely. It’s like having one big screening room.” RV enables easy review of images and sequences through a flexible dailies workflow and an advanced media architecture that can automatically combine media of different resolutions frame rates color spaces and audio sampling rates. RV-SDI provides dual link SDI output with embedded audio to handle 2K stereo playback/review in screening rooms and theatres. While artists at Digital Domain had been using RV for desktop playback the studio had a different solution for its screening rooms. “Tweak adding support for SDI was the missing piece ” says Mayeda. “SDI is the only way for us to watch 2K stereo. It feeds into the projector effortlessly and you get perfect artifact-free playback. RV also has a number of nice features for stereo viewing allowing supervisors to make stereo adjustments live in the screening room.” Digital Domain also tapped RV’s open API and SDK to integrate RV tightly with its proprietary DMX dailies system. The result is a seamless experience for users during dailies whether they are in one room or remotely connected from different facilities. “One of the key reasons RV was such a good solution for us was because it’s extensible by our developers – it gave us everything we needed to easily link it into our dailies system ” says Mayeda. “And now that RV is going to support Python it’s going to get even easier.” RV and RV-SDI are fully integrated into the pipeline at Digital Domain’s Venice and Vancouver studios and were used recently for digital production on Thor X-Men: First Class Transformers: Dark of the Moon and Real Steel. On Transformers: Dark of the Moon Digital Domain even set up a remote system with fast connectivity to director Michael Bay’s office so he could use RV to review work draw annotate start and stop playback and talk to artists and supervisors via video conference. RV deployment is in initial phases in the studio’s Florida and San Francisco studios. Digital Domain http://www.digitaldomain.com Tweak Software www.tweaksoftware.com ,2842
GDC Wins Server Contract with Wehrenberg Theatres,2011-10-31, GDC Technology has won a server supply agreement with Wehrenberg Theatres the oldest and largest family-owned theatre chain in the U.S. The deployment which began in October will see a total of 144 GDC digital cinema servers installed. Serving moviegoers for more than a century Wehrenberg Theatres now operates 15 theatres in Missouri Illinois Iowa and Minnesota. The St. Louis-based company celebrated its 100th Anniversary in 2006 and remains the oldest family-owned-and-operated theatre circuit in the U.S. Under this contract NEC Financial Services provides financing while Ballantyne Strong provides the installation and maintenance services as well as providing NEC digital cinema projections systems and GDC digital cinema servers. “We required a team that could provide us with both guidance through each stage of the conversion process; and access to superior products ” says Ronald P. Krueger chairman and CEO of Wehrenberg Theatres. “This is one of the key reasons why we chose GDC in that the company is renowned for its quality products and reliable services. Needless to say we’re very excited about this partnership and look forward to becoming fully digitalized in order to provide our moviegoers with the best cinematic experience possible.” Ray Boegner senior vice president of Ballantyne Strong says “This is yet another successful collaboration with GDC to provide customers with the most cutting edge digital cinema technology.” “GDC is delighted to have been selected for the digital conversion of Wehrenberg Theatres ” says Dr. Man-Nang Chong founder and CEO of GDC Technology. “To serve such a prestigious theatre chain with a century old history is immensely rewarding for us. We’re confident that our innovative products will swiftly and smoothly modernize Wehrenberg Theatres bringing the magic of digital cinema to all its movie lovers. Once again we’re pleased to collaborate with our valued partners Ballantyne Strong and NEC. We welcome Wehrenberg into a venture which has proved successful time and time again.”   Ballantyne Strong www.strong-world.com GDC Technology www.gdc-tech.com NEC Display Solutions of America www.necdisplay.com Wehrenberg Theatres www.wehrenberg.com ,2845
IFTA Endorses Stop Online Piracy Act Pending in Congress,2011-10-31, The Independent Film & Television Alliance has announced its support of bi-partisan comprehensive intellectual property enforcement legislation introduced today in the U.S. House of Representatives by Representatives Lamar Smith (R-TX) John Conyers (D-MI) Bob Goodlatte (R-VA) and Howard Berman (D-CA) designed to shut down rogue foreign websites that profit from American-made films television shows and other content.
 
The Stop Online Piracy Act (H.R. 3261) which considers the role of all players in the online ecosystem and aims to follow the money supporting online theft could help stem the loss of thousands of jobs resulting from the illegal online distribution of content.   The bill was also co-sponsored by Rep. Marsha Blackburn (R-TN) Rep. Mary Bono-Mack (R-CA) Rep. Steve Chabot (R-OH) Rep. Ted Deutch (D-FL) Rep. Elton Gallegly (R-CA) Rep. Tim Griffin (R-AR) Rep. Dennis Ross (R-FL) and Rep. Lee Terry (R-NE). Jean Prewitt IFTA president & CEO says “Online theft in the U.S. and overseas threatens the independent film industry and must be stopped. For the Independents who finance films by pre-selling the rights to distributors worldwide the drastic damage caused by online theft is measured both in films that cannot be produced and in lost returns on investment in films that have been produced. Independents account for 70 percent of all U.S. film production so every independent film that can’t be financed and produced has a dramatic impact on jobs and the economy.  We appreciate the House Judiciary Committee’s serious bipartisan work in bringing this bill forward to address both rogue websites and felony streaming and we look forward to working with them to ensure that strong measures are adopted.”
  IFTA is working alongside the National Association of Theatre Owners the Motion Picture Association of America the Deluxe Entertainment Services Group and a growing coalition of entertainment union workers and organizations businesses and labor groups involved in the production sale and distribution of creative content in support of the legislation.
 ,2846
Imax Corporation Licenses Kodak’s Laser Technology ,2011-10-31, Imax Corporation has licensed from Kodak certain exclusive rights in the digital cinema field to a portfolio of more than 50 patent families covering fundamental laser projection technology. Imax also licensed from Kodak certain exclusive rights in the digital cinema field to a broader range of Kodak patents covering complementary technologies useful for laser projection products. While the agreement is royalty bearing to Kodak the specific terms of the deal were not announced. “This Kodak intellectual property is truly cutting edge and will be used by Imax’s esteemed Technology Group to enhance the cinematic experience for consumers enable the application of digital technology in our larger and institutional theatres and make being in business with Imax even easier and more profitable ” says Imax CEO Richard L. Gelfond. “It is a testament to Kodak’s strong heritage in film and tradition of excellence that we believe this deal further differentiates Imax in terms of innovation and technological advancement in large-screen cinematic experiences.” Imax expects to introduce the new laser-projection technology by the second half of 2013 and that it will provide the company’s largest screen and dome customers – which have previously only had access to analog film – with a full array of digital content which often includes Hollywood’s biggest Imax DMR titles. Kodak engineers will work closely with Imax engineers over the next 18 months to assist with the implementation of the technology into the Imax product family. “We are delighted to be licensing our technology to a company as innovative as Imax ” says Kim Snyder president entertainment imaging and vice president Eastman Kodak Company. “Because this technology produces the deepest blacks and the brightest 3D of any system demonstrated to date it will truly make the movies more exciting for consumers and that creates a strong value proposition for the studios and exhibitors as well. That’s the ultimate measure of this relationship. We look forward to working with the Imax team to make this vision a reality.” Imax Corporation www.imax.com Kodak www.kodak.com/go/motion ,2847
Lucasfilm Selects Barco's Auro-3D for Red Tails Release,2011-10-31, Lucasfilm has chosen Barco’s Auro-3D 11.1 audio format for the commercial release of its latest movie Red Tails slated for release January 20. Red Tails – produced by Rick McCallum directed by Anthony Hemingway and executively produced by George Lucas – is an action-drama film based on the Tuskegee Airmen a group of African-American combat pilots during World War II. “When we first heard demonstrations of what the Auro-3D 11.1 audio format is capable of it gave us great ideas for new possibilities in story telling ” says Rick McCallum producer for Red Tails. “Red Tails is about combat pilots and sound from all around will surely boost the overall movie experience – so it's an ideal film to be mixed in 11.1 with the most realistic effects ever heard in commercial cinema.” 

 “We were incredibly excited to have the opportunity and privilege to work with Lucasfilm Ltd. and Skywalker Sound on the release of Red Tails in the Auro-3D 11.1 audio format ” says Brian Claypool senior director strategic business development at Barco. “In addition having Skywalker Sound install Auro-3D in the world's most utilized mixing facility to support our Auro-3D 11.1 audio format was indeed a great honor and we look forward to engaging more visionary talent in the creation of 11.1 soundtracks at Skywalker Sound.” Auro-3D powered by Barco and Auro Technologies is a revolutionary sound system designed along three spatial axes (width depth and height) rather than the two axes as found in traditional surround sound. The full Auro-3D speaker layout is defined for up to 13.1 channels with 11.1 being the current ideal solution for environments such as commercial movie theaters. As Auro-3D technology is compatible with existing formats standards and distribution mechanisms only a minimal hardware and installation investment is required to upgrade from traditional 5.1 to the Auro-3D 11.1 audio format. 

 Auro Technologies www.auro-3d.com Barco www.barco.com ,2848
The 180 Microcinema Festival Calls for Entries,2011-10-31, The 180 Microcinema Festival is seeking submissions for its first International celebration of short films. The selected films will be available on the web starting January 7. The first cycle of the 180 Microcinema Festival is seeking submissions for the Narrative category. Filmmakers and students that are at least 18 years old from every country are eligible to participate. Complete rules and requirements can be found at www.180cinema.net. Submissions must be delivered electronically by December 15 2011. Submissions can be made through the website and there is a fee of $10 per film. Founded in 2009 the 180 Microcinema Festival seeks to celebrate and reward filmmakers across the world who embrace unique and unorthodox approaches to filmmaking. The festival celebrates the range and diversity of filmmakers in an interconnected world emphasizing emerging technologies such as mobile devices and digital media in film production and distribution. We wanted to create a virtual space for a film festival where geography and physical distance would not be a constraint says founder Vicente Nakpil-Roxas. The films are only three minutes long so aside from tackling a creative challenge these filmmakers sidestep the high costs inherent in creating a full-length feature. The Festival seeks to showcase both established and undiscovered filmmakers by utilizing social media to share these films with a worldwide audience. Filmmakers are encouraged to embrace transmedia a style of filmmaking that encourages interaction with the audience specifically through the Internet social media and online venues. Winners will be awarded a Transmedia Development Deal worth $30 000. Roxas says that this deal coupled with sponsorships and crowdsourcing campaigns initiated by the Festival will allow a filmmaker to create more projects. The Festival enables filmmakers to hone their craft promote their work and interact with a global audience he says. Selected films will be eligible for an award chosen by a jury headed by Academy Award winning producer Stefanie Walmsley (God of Love.) Visitors to the online festival will be able to cast a vote for an audience award. Both will be presented on March 10. ,2849
P+S Technik Introduces the PS-Cam X35,2011-10-31, P+S Technik has introduced the PS-Cam X35 a camera that the manufacturer says is the first film-style digital cinematography camera made for the daily creative use of various kinds of special speed and motion effects including slow motion fast motion ramped motion and time lapse motion. The PS-Cam X35 is a combination of a sync sound and a motion effects camera providing additional frame rates all of the way up to 450 fps. Other features include two in one sync sound 1 – 450 fps global shutter for enhanced motion capture capability 640 ASA base sensitivity and 11 T-stops latitude. The onboard memory is 18 GB and allows recording of more than four minutes in normal speed (9 GB or 36 GB memory options planned). The standard switchable HD-SDI interface in 1 5G & 3G allows the integration into existing HD infrastructures and ensures operating existing and future-proofed HD-SDI recorders on the market. The compatibility to third party products allows combining the camera with a wide range of accessories. With the PS-Cam X35 a Director of Photography can provide motion effects footage without the additional costs of renting a separate high-speed camera package and the attendant technician required to use the camera. The company says this opens a whole universe of visual motion effects for flexible and emotional story telling. ,2851
SAIFF to Hold Eighth Annual Festival in New York ,2011-10-31, Now in its 8th year the South Asian International Film Festival will present the premieres of 19 new films from India Pakistan Sri Lanka Nepal and Bangladesh all created by emerging talents and made outside the Indian studio system that often dominates production in the region.  North Americaʼs premiere showcase for the best in new cinema from India and throughout South Asia SAIFF will take place November 9-15 at the New York Institute of Technology. This year’s line-up explores cultural taboos such as sexuality and corruption as well as examinations of society in South Asia from diverse points of view.  Featured as the opening night film is India’s selection for this year’s Academy Awards Abu Son of Adam (Adaminte Makan Abu) Salim Ahamed’s directorial debut. The festival will also feature a Conversation Series with Shekhar Kapur (Bandit Queen Elizabeth and The Four Feathers) on November 12 during which he will discuss the evolution of his esteemed career from Bollywood actor to Hollywood director.
 The jury for the Dramatic and Short Film competition sections consists of Richard Lorber president & CEO of Kino Lorber David Kwok director of programming of the Tribeca Film Festival Paul Rachman co-founder and East Coast director of the Slamdance Film Festival Cindi Rowel DVD Producer of New Yorker Films Grady Hendrix Co-Founder & Programmer of the New York Asian Film Festival and Mark DeFrancis Head of Acquisitions of Indiepix Films. For full program information schedules tickets and press downloads visit www.saiff.org. ,2852
Sony Upgrades Vegas 3D Editing Software,2011-10-31, Sony Creative Software has announced the latest upgrade to its Vegas editing technology. Vegas Pro 11 adds significant performance improvements to the award-winning nonlinear editing courtesy of OpenCL and highly optimized GPU hardware acceleration for video processing and rendering. Vegas Pro meets the high standards required for our films including managing and processing 4K 3D workflow says Jean-Jacques Mantello director of the acclaimed Imax theatre films Dolphins and Whales 3D Sharks 3D and Ocean Wonderland distributed by 3D Entertainment Distribution. We've come to expect a consistent level of quality from Vegas Pro. Sony says Vegas Pro 11 is the world's first Windows-based OpenCL NLE broadly supporting the open standard for core video editing operations video effects and rendering. Other new features include Nvidia 3D Vision support for single-display 3D computers such as the Vaio F series 3D laptops and L series 3D desktops an enhanced video stabilizer tool and new software tools for creating animated titles. Sony continues to be a leader in developing professional content-creation applications that are extremely powerful yet easy to use says Dave Chaimson vice president of global marketing for Sony Creative Software. With the addition of GPU acceleration Vegas Pro 11 streamlines the video editing experience by providing smoother previews and faster rendering times ideal for industry professionals who work on tight deadlines where every second counts. Utilizing the OpenCL standard customers will find that even very affordable GPU solutions from AMD and NVIDIA offer workflow enhancements that provide between two and four times faster rendering speeds with equally as impressive performance gains during video playback. Vegas Pro 11 is now available for purchase at retailers worldwide and online. The suggested retail price for Vegas Pro 11 software is $699. Upgrades from previous versions of Vegas Pro will be available for $199. Localized French German Spanish and Japanese versions will also be available. Sony Creative Software www.sonycreativesoftware.com ,2855
Todd-AO Upgrades ADR Facilities in Hollywood,2011-10-31, In the latest phase of a continuing effort to expand and upgrade its sound facilities Todd-AO has completed a full technical overhaul of ADR stage 5 at its Hollywood studios.  One of the largest facilities of its type in Hollywood the ADR stage has been equipped with a new Pro Tools workstation a Soundmaster ION operating environment and a Christie HD playback system. The new integration provides the stage with an all-digital infrastructure resulting in enhanced quality and efficiency for voice recording. The Soundmaster ION will be used to synchronize the Pro Tools system with a separate recording system microphones remote feeds samplers and a boom recorder used for back up. “We have created a state-of-the-art recording facility that offers all functionality that producers and talent expect from a world-class ADR room ” says Bill Johnston senior vice president of engineering at CSS Studios Todd-AO’s parent company. “Our aim is to make ADR as quick and seamless as possible.” Johnston adds that the new HD video system has the ability to playback video in virtually any format eliminating transcoding delays. “It makes a world of difference ” says Todd-AO ADR mixer Ron Bedrosian. “The new technology provides increased flexibility so that we can better meet the evolving needs of our clients.” The ADR Stage has been used to record dialogue for such films and television shows as Mission: Impossible—Ghost Protocol Footloose Abduction Real Steel The Adjustment Bureau Bridesmaids NCIS and Nikita. The recent facility upgrades at Todd-AO Hollywood has also included a major interior design renovation that includes a new reception area client lounges and kitchen. These changes follow a number of other recent upgrades at Todd-AO Hollywood. Two mixing stages were equipped with Euphonix mixing consoles that are set up to mix in a hybrid manner either mixing sound files directly or through external Pro Tools systems. A third mixing stage has been expanded to accommodate two mixers. CSS Studios www.css-studios.com ,2857
Ubiquity Studios Tests Sony’s F35,2011-10-31, Ubiquity Studios of Irvine California recently filmed a new Bentley Continental SuperSports coupe from the local Bentley dealer to put Sony F35 camera through its paces. Ubiquity CEO Chris Carmichael says The Sony F35 is an amazing camera and the quality is unmatched by any other. What I am most excited about is the new Sony F65 digital motion picture camera that is due in January 2012. The Sony F65 will be the Bentley of the camera industry and Ubiquity Studios will be proud to offer it to our clients and use it on our own projects. Sony cameras are the bread and butter of the film and television industry. You could not ask for a better camera says Ubiquity's director of cinematography Mike Prickett. The Sony F35 digital cinematography camera offers a Super 35mm-sized CCD sensor and PL lens mount for cinematographers who have a passion for 35mm film lenses. The F35 provides breathtaking picture quality an extensive range of depth-of-field controls dynamic range and a wide color gamut. The PL lens mount of the F35 allows flexible use of the vast majority of 35mm cinema lenses which greatly expands creative possibilities. Ubiquity Studios is dedicated to having the best camera equipment available in the industry. If you want extraordinary results from your production you must use the best the industry has to offer says Prickett. We brought the F35 to Ubiquity Studios so we can continue to offer the most highly sought after cameras camera and lighting equipment to shoot action sports movies commercials and television programs says Carmichael. Ubiquity Broadcasting Corporation www.ubiquitybc.com ,2858
Unexpected Brings Robots to Life for Vestel,2011-10-31, The latest Vestel commercial features an army of robots swiftly dealing with a pirate attack on an ocean-going ship. The lifelike movements of the robotic heroes were made possible by Xsens MVN motion capture technology. Saatchi & Saatchi in cooperation with visual effects studio Unexpected created the new commercial for Vestel one of Turkey’s largest electrical appliances manufacturers. In the commercial which was directed by directing duo Alex & Steffen robots rescue the ship and its crew from a swarm of pirates in the most convincing manner. Unexpected brought the robots to life using Xsens technology. Traditional motion capture is a costly process both in terms of time and money. The Xsens MVN technology is not only easier to use but also a lot faster. Animators just step into the Xsens MVN suit and record every desired motion. This technology makes even those notorious last-minute adaptations into a breeze. The simplicity allows for extreme flexibility in the creative process. “During the editing phase of Vestel we spontaneously decided that we need an overwhelming extra shot ” says Alexander Kiesl CEO at Unexpected. ‘So we jumped into the suit and recorded 22 moves in 28 minutes for this extra scene. We would not have been able to do that without Xsens MVN.” ,2859
Warner Bros. Releases Social Series Aim High,2011-10-31,Warner Bros. Digital Distribution has announced that its action comedy series Aim High which the studio says is the first-ever social series from a Hollywood studio has debuted on Cambio and Facebook. Consumers can now become part of the show by integrating their profile information - including photos text and friends – by simply opting into the application on the show’s Facebook page or by registering on Cambio and linking to the account to Facebook.  Aim High is the story of a young man leading a double life - juggling his studies by day and serving as a government operative by night. This series chronicles the life of Nick Green a junior who's just starting a new school year as one of the country's 64 highly trained teenage operatives.

 When he's not handling international spies Nick is dreaming of Amanda Miles the most popular girl in school who's cool intelligent and very alluring. Amanda mercilessly flirts with Nick but before he can enjoy her advances he has to avoid Derek - her overly protective boyfriend who threatens him for even looking at her.
 Aim High is produced by Warner Premiere and Dolphin Entertainment and stars Jackson Rathbone (Twilight) Aimee Teegarden (Friday Night Lights) Johnny Pemberton (21 Jump Street) Rebecca Mader (Lost) and Greg Germann (Ally McBeal).  Aim High is truly an innovative series as it allows the viewer to become part of the show says Thomas Gewecke president of Warner Bros. Digital Distribution.  We're already exploring ways to develop this technology further and offer additional immersive features.   Our goal when creating Aim High was to bring the quality a viewer would expect from a film or broadcast TV show to the online space says McG producer. “Aim High is really a giant step forward for entertainment and I'm excited to see how fans will react to the show. The series is written and created by Heath Corson and Richie Keen who also serve as executive Producers directed by Thor Freudenthal (“Hotel for Dogs ” “Diary of a Wimpy Kid”) and produced by Lance Sloane. Aim High www.facebook.com/aimhighseries Cambio www.cambio.com