Rave Cinemas to Implement ReactorNet’s E-Procurement Process

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Fri, 08/31/2012 - 20:00 -- Nick Dager

Dallas-based Rave Cinemas will implement ReactorNet’s Cinema Solutions e-procurement platform to automate procurement processes across 62 theaters in 21 states. The company says this will enable Rave to lower operational costs associated with manual processing. ReactorNet’s Cinema Solutions is designed to help Rave establish a documented and automated purchasing process with mandated policies and internal controls to effectively improve workflow increase efficiency and guarantee order accuracy. As a result the company claims Rave will be able to manage and update the catalog process with suppliers in real-time giving them complete control over the ordering process while keeping in compliance with corporate procurement policies and procedures. We look forward to implementing Cinema Solutions to automate our purchasing activity and improve collaboration with our large supplier network ” said Lloyd Carmack director of purchasing Rave Cinemas. “ReactorNet brings the expertise and professional services that will get us up and running with minimal investment within days. We felt it was imperative to establish an automated and controlled best practice workflow and are confident Cinema Solutions is the platform that will help us achieve our goals.” ,3508
Doremi Supports 69th Venice International Film Festival,2012-09-01, The 69th Venice International Film Festival organized by La Biennale di Venezia is being held at Venice Lido where up to seven screens will show more than one hundred forty DCP feature films to the Festival visitors for a total of more than four hundred projections. The Venice Film Festival is the world’s oldest event of its kind and Doremi is delighted to be associated with the 2012 Festival that runs from August 29 to September 8.

 Doremi has worked with major international festivals including Cannes for many years. At the Venic festival Doremi is deploying together with Cinemeccanica its flagship product Integrated Media Block and ShowVault digital cinema servers.
 
The IMB and ShowVault digital cinema server system includes all the hardware and software features needed for a DCP platform and includes many advanced features such as a double 3G SDI input one HDMI input with HDCP and HDMI 3D connections support for 4K and 48/60fps high frame rate (HFR) screenings. The video input can be powered via PCI Express HDMI and SDI and the use of just one RJ45 audio output helps to simplify the cabling. The IMB supports the de-interlacing of 1080i inputs and plays all formats in native XYZ.

A world pioneer in movie presentation equipment Cinemeccanica is the festival's official technical partner. The Italian company founded in 1920 now offers technical consulting skilled staff and a range of digital projectors for DCI film for all Festival venues. ,3509
Greentopia Adds Film Festival to Annual Event,2012-09-01,The second annual Greentopia described by its organizers as a weeklong celebration of inspiration to reduce reuse recycle and rethink will host its first official film festival September 11-15 in Rochester New York. Greentopia | Film like the other programs within the greater Greentopia event will explore varied aspects of sustainability in our modern lives – economic environmental emotional and more – through films and events that will engage and entertain audiences on multiple levels. Film is a storytelling device unlike any other and the diverse stories being told in this year’s Greentopia | Film Festival will show audiences aspects of the world that they rarely get to see – from deep beneath the ocean to icecaps in the Arctic said Linda Moroney director and lead programmer of the film festival. Moroney a documentarian and veteran film programmer mounted a smaller-scale film event as a guest programmer at last year’s Greentopia. Greentopia | Film will kick off on September 11 with a special event Short Courses at Restaurant Good Luck 50 Anderson Ave. Rochester. Attendees will enjoy a series of four short films about food each paired with wine and original culinary creations devised by the chef and inspired by the films. The evening will also include a tour of Good Luck’s new outdoor garden supporting the concept of restaurants using sustainable local produce in their menus. The rest of the festival will include more than a dozen feature-length documentaries and short films as well as a video installation and a free children’s program presented at a creative array of theaters and non-traditional screening sites around the greater Rochester area. For a complete schedule of films venues and ticket information visit http://www.greentopiafestival.com/film ,3510
Documenting Domestic Life across the Country,2012-09-01,Recently producer Danny Grizzle went out for three weeks to shoot footage not only of the exquisite Satterwhite homes but also to document the lifestyle of homeowners. “I covered homes in the Blue Ridge area of Northern Georgia to Safire North Carolina which is prime high end territory that rivals Aspen Colorado. Then I went to the Northern neck of Virginia just 12 miles from where George Washington was born – where I captured the story of a family that raises bison for the restaurant market ” he says. He shoots with a DSLR package that includes the Vision blue pan and tilt head and tripod system from Vinten. “I had little time to shoot and interesting angles to capture ” he explains. “My package includes a Canon 60D rigged with a follow focus and a wide variety of lenses which I often have to change quickly. To document the Wildt family who raise bison I had to go from intimate interviews inside their house to climbing up on a hay wagon they brought in so I could shoot over the 10 000-Volt fence that surrounds their very unfriendly bison. “I bought the Vision blue specifically for these kinds of situations ” he explains. “It’s near ideal for DSLR filmmaking – a real step up from any entry level video tripods. Vinten’s ‘Perfect Balance’ system is what sold me. Working with DSLR cameras is challenging and different from the way video shooters typically work. One major difference is frequent lens changes and constantly changing rig configurations. “Every change to the camera alters the weight and balance on the head ” he adds. “The beauty of Vinten’s Perfect Balance is the speed and accuracy of resetting the head to precisely match constant reconfigurations of the payload. I have never owned or used any tripod so ideally matched to the specific task of DSLR filmmaking. “The Vinten Vision blue pan and tilt movements are outstanding and free from backlash ” he continues. “This is critical for any image sensor such as DSLR because slow movements are required in order to avoid negative ‘jello’ image artifacts. This head delivers outstanding quality pans and tilts without the kind of slight repositioning that can ruin shots when the operator eases movements into final position and releases muscle pressure on the pan bar. “I also appreciate the illuminated levelling bubble as well as the overall build quality ” Grizzle says. “I selected the mid-level spreader because much of my work is outdoors on rough ground. And I truly appreciate the not-so-little things like the inclusion of a high quality fitted carry case. I travel constantly so I value good cases. Vinten leaves nothing to be desired in this area.” Grizzle’s most recent documentaries on the Satterwhite Log Home lifestyle are now running on the company’s website. He is scheduled to go out on another run to document more of the 30 000 homes the company has built throughout the country. ,3511
Officers Named for International 3D Society & [email protected] Consortium,2012-09-01,The newly merged International 3D Society & [email protected] Consortium today announced its new Board of Governors and Officers. The leadership will drive the direction and agenda for the combined organization which now counts more than 70 member companies and 600 3D professionals worldwide. The election took place at the combined group's annual meeting held at DreamWorks Animation Studios. Our newly-elected Board and Officers reflect an unparalleled breadth of experience across all key areas of the 3D ecosystem said Tom Cosgrove co-chair of I3DS & [email protected] and president & CEO of 3net. Our combined organization and executives will work in collaboration with our global partners to advance the proliferation of 3D content and expand the opportunities for consumer adoption of this dynamic medium around the world. Consumer interest in 3D entertainment and gaming is growing. Coupled with the increasing number of 3D TVs in the home and the broad range of content available we expect the demand for 3D content to accelerate over the next few years said Dan Schinasi senior marketing manager Samsung Electronics America and co-chairman. This Board will continue to identify opportunities to leverage current and future expertise in 3D production content distribution channels and consumer education to drive 3D adoption. Also named were: chair-elect Howard Lukk vice president digital production technology Walt Disney Studios Motion Pictures with Mike DeValue director advanced technology as his alternate; first vice-chair/treasurer Kappei Morishita vice president & general manager PHL advanced authoring center Panasonic Hollywood Laboratory; vice-chair/secretary Pete Lude senior technology executive Sony Electronics and Toshino Yuhaku senior vice president alliances Sony Corporation of America as his alternate; and vice-chair Phil Corriveau principal engineer director user research group Intel Corporation. Jim Mainard head of Digital Strategy DreamWorks Animation; Lenny Lipton 3D inventor; Jim Chabin president and CEO International 3D Society & [email protected]; and Pat Dunn Dunn & Pariser CPA's will also serve on the executive committee. Elected to serve on the Board of Governors were: Grant Anderson executive director and stereo supervisor 3D Technology Center Sony Pictures; Chris Armbrust technical director THX; Matt Blute cinematographer; John Cassy director of 3D bSkyb; Chuck Comisky stereo3D design VFX supervision Chromium Labs 3D; Maria Costeira CEO XpanD 3D; Ron Geller vice president worldwide content relations of Dolby Laboratories with alternate Jana Spotts; Rick Heineman senior vice president marketing and communications RealD; Kay Johansen chief technology officer MobiTV; Louis B.J. Kim senior manager Samsung Information Systems America; Lily Knowles vice president marketing Vizio; Matt Liszt vice president marketing MasterImage 3D; Steve Schklair CEO 3ality Technica; William Sherak president StereoD; Lisa Truitt president National Geographic Cinema Ventures; and Bob Whitehill stereoscopic supervisor Pixar. Elected chairmen of international committees were: Asia: Masayuki Kozuka general manager of media and content alliance office R&D Panasonic Corporation; China: Wenhua Ding chief technology officer CCTV; Korea: YY Park Korea Telecomm; Japan: Takashi Kawai director for department of intermedia art and science Waseda University; Europe: Jacques Verly professor University of Liege; and the U.K.: John Cassy director 3D bSkyb. Eight of the top ten grossing movies of all time have adopted 3D as a key component to their financial and artistic success. 'Titanic 3D' has broken all box office records in China this year. With nearly 50 TV channels on the air worldwide and more than 100 3D Blu Ray discs available on the market this digital art form is swiftly colonizing an ever-increasing array of screens said Jim Chabin president and CEO of the newly combined group. This board unites our industry to fuel the 3D revolution. ,3512
IntoPix Leonis Cinema to Collaborate on CineMaster-Pro,2012-09-01,IntoPix has announced a strategic collaboration in the CineMaster-Pro DCP creator produced by Leonis Cinema. “With the post-production market for 4K DCP generation rapidly heating up in China so does the call for faster-than-software based solutions ” says Darren Ma CEO of Leonis Cinema. “Integration of the leading IntoPix JPEG2000 hardware compression technology allows the CineMaster-Pro to meet the new challenges for real-time or faster generation of large 4K and 2K HFR DCP files.” “We feel proud to be selected as JPEG2000 encoding technology provider for DCP creation by Leonis Cinema ” says Katty Van Mele director of business development at IntoPix. “The unique hardware compression solution enables real-time or faster communication with the DCP workflow allowing a substantial acceleration of the DCP generation in a professional production environment.” ,3514
Codex Workflow System Helps Annapurna on Lawless,2012-09-01,Annapurna Pictures employed Codex recording and workflow technology during the production of Lawless the new film directed by John Hillcoat and starring Shia LaBeouf and Tom Hardy about a bootlegging operation in the Depression-era South. The Weinstein Company released the film last week. Codex Onboard M recorders Transfer Stations and Digital Labs were used to capture ArriRaw data from Arri Alexa cameras used in the production and to process dailies back-up and editorial media while the production was shooting in Georgia. The dailies processing was handled by the editorial team. “It was a very efficient workflow because we had everyone in one place ” explains James Masi head of post-production for Annapurna Pictures. “Rather than having to ship the raw data to a lab wait for it to come back make notes and send it back again if there were problems everything was done in the edit room.” The workflow performed flawlessly and resulted in spectacular imagery Masi adds. As a result of that success Annapurna Pictures elected to use similar Codex/ArriRaw workflows on two subsequent productions Zero Dark Thirty the Kathryn Bigelow film about the hunt for Osama bin Laden and an as yet untitled film directed by Spike Jonze. ,3515
New Study Bullish on Worldwide Digital Cinema Market,2012-09-01,According to a report issued by Global Industry Analysts the global digital cinema projector market is ideally positioned to experience growth in the near term due to the conversions of conventional projectors to digital cinema projectors. Additional demand emerges from a largely under-penetrated market for 3D and digital cinematography equipment. The current movie theater business model is continuously threatened by a constant rise in digital downloads by consumers large-scale availability of less expensive rental options and the studios’ intentions of reducing or eliminating theatrical release lifecycle to raise DVD sales the report says. In order to stay relevant cinema operators are now exploring options of enhancing viewer experience which can be effectively achieved by digitizing the cinema theatres. Transformation to digital formats offer numerous benefits to cinema operators mainly cost savings which assume the form of cost involved for printing physically transporting films and retrieving the physical celluloid prints. Digital cinema also offers operators the flexibility of customized on-demand entertainment options. The global cinema industry is currently undergoing a transition towards complete digitalization. Digital cinema has been around for more than ten years but the market gained traction in the year 2010. With the shift away from the celluloid based cinematography the entire value chain is witnessing a seismic change. Consequently the whole process of capturing cinematographic data processing distribution and exhibition is experiencing complete digitalization. Digital cinema projectors form the lifeline of digital cinema industry. These projectors have brought about an end to the reign of the 35-mm legacy mainly due to the inherent advantages offered by digital projectors. Though infrastructural costs in Digital Cinema including projectors and servers are much higher than conventional 35-mm the printing costs and transportation cost of the films is drastically reduced with the implementation of Digital Cinema. The cost of distribution is further reduced by transmitting films through satellites. From a market perspective in 2010 the digital cinema projectors market witnessed a slew of investments towards digitalization. Growth in the market is expected to commence declining after conversion to digital reaches a sizeable level of maturity. However the report says the demand from consumables and lamps as well as replacement sales would continue to rejuvenate the coffers of digital cinema OEMs (Original Equipment Manufacturers) in the upcoming years. Days of dominating the cinema space is over for conventional 35mm technology which with the advent of the digital revolution in the cinema exhibition arena has been gradually reclining to the corners of the exhibitor’s and viewer’s mind space. However 35mm will still be in operation in some markets till it gradually fades into obscurity. In a phased manner the celluloid based concept which had driven the cinema industry for years will witness obsolescence across the globe in the European region by 2014 and the US as early as 2013. As stated by the new market research report on digital cinema projectors  the US represents the largest regional market worldwide. However future growth in the market is expected to emerge from emerging markets with Asia-Pacific spearheading the growth. The region is projected to rise at a compounded annual rate of 15.1 percent during the analysis period. Within Asia-Pacific China is expected to be at the epicenter of growth in the foreseeable future. With a large number of digital as well as conventional technology-based theaters being constructed in China the country is poised to dominate growth in demand for Digital Cinema Projectors. In other Asia-Pacific markets such as South Korea continued promotion of digital cinema adoption from organizations such as Digital Cinema Korea is expected to surge demand for digital cinema projectors. The research report titled Digital Cinema Projectors: A Global Strategic Business Report announced by Global Industry Analysts provides a comprehensive review of market trends issues drivers company profiles mergers acquisitions and other strategic industry activities. The report provides market estimates and projections in terms of annual sales in US$ Million for major geographic markets including the United States Canada Japan Europe (France Germany Italy UK Spain Russia and Rest of Europe) Asia-Pacific Middle East & Africa and Latin America. Digital Cinema Projectors
http http://www.strategyr.com/Digital_Cinema_Projectors_Market_Report.asp ,3516
MoPix Launches Digital Distribution Platform for Independent Filmmakers,2012-09-01, MoPix has announced the MoPix platform a new framework for filmmakers to generate brand distribute and sell DVD-like video through the MoPix Library iTunes App Store Google Play or on Web sites via widgets. Additional mobile platforms and storefronts as well as set-top box/Connected TVs will also be supported in the near future. MoPix says this gives filmmakers a turnkey solution for not only creating and monetizing video and related content but also brings powerful functionality like in-app purchases analytics push notifications and more to the world of film. The company also announced it is the new digital distribution engine for Film Baby a division of CD Baby. The community’s more than 2 000 films will soon be available within the MoPix Library. “Our cutting-edge digital content delivery system makes it easy for anyone who owns content –movie studios independent producers fitness instructors or culinary professionals – to easily brand distribute and sell their work broadly to fans with a mobile device and Internet connection ” said Ryan Stoner CEO of MoPix. “Digital downloads embeddable widgets and apps provide a significantly more dynamic personal experience to movie watchers versus a packaged DVD or download. It’s exciting to think about how smaller filmmakers can be among the first to utilize dynamic digital offerings in their marketing and video distribution strategy. This will raise the bar on viewer engagement convenience and experience for the whole industry.”
 Filmmakers can upload a video along with a wide range of featured content including “behind the scenes” footage scripts and other PDF documents and photo galleries. The platform is built to support film distribution but also can be used for marketing and promotions to enable a constant interaction between the film property and fans from pre-production to film release. What’s more publishers keep control of their audience interaction and price structure even retaining as much as 100 percent of their revenue.

 “Using MoPix we are able to distribute The Silver Goat to audiences across the globe ” said
 Paula Vaccaro producer at Pinball London. “As a film producer having a film with worldwide audience potential is really promising. It’s nice to know you are no longer at the mercy of sales agents or a big studio to get your film out to the masses. You can do it yourself without sacrificing quality or putting up with rules by gatekeepers.”

 “It is incredibly difficult for independent filmmakers and alternative video content creators to distribute their films digitally ” added Stoner. “With MoPix these artists will be able to fulfill their dreams – without worrying about securing enormous amounts of capital or signing over control of their work.”

 The MoPix platform supports a broad number of viewing devices ensuring playback across platforms. Just like Special Edition DVD releases MoPix provides fans with premium content including outtakes director’s commentary and more. Viewers can also broadcast the content they own in HD via Airplay-enabled devices with further set top box support coming soon. Fans can even interact with content creators and friends in the MoPix enabled communities.

The Film Baby library of content will be available in the MoPix library beginning in December.
 MoPix www.getmopix.com ,3517
Remote Dailies System Saves Longmire Production Time and Money ,2012-09-01, Produced by Warner Horizon Television the A&E drama Longmire is taking advantage of MTI Film’s new Remote Control Dailies system to facilitate a workflow that spans the country. The show a modern day crime drama centering on the sheriff of a remote Wyoming community is shot in New Mexico but editorial and post work is carried out in Los Angeles. A&E TV’s network operations meanwhile are based in Stamford Connecticut. As a result editorial media needs to be sent from the set to the editorial team on a daily basis while high quality review media has to be made available to parties in New Mexico California and Connecticut. MTI Film made all this possible by establishing a Remote Control Dailies facility in Albuquerque just a short drive from the production location. Each day data drives from the Red cameras used in the production are transported to the dailies facility for processing. The camera media initially undergoes a color grading process using the Remote Control Dailies system. It allows dailies colorist Troy Davis at MTI Film’s Hollywood facility to work directly on the camera media over an IP connection. The series DPs are able to able to observe and approve the work in New Mexico. “Remote Control Dailies allows us to avoid the expense of having a dailies colorist on location ” explains Longmire associate producer Bryan J. Raber. “It also means that we can use the same colorist Troy Davis who did our pilot and avoid the hassle of training someone new.” Once that work is complete the Control Dailies system produces ProRes editorial media that is then sent via high-speed Internet connection to the editorial team in Hollywood. It also prepares review media in formats ranging from fully-authored DVDs to 720p chaptered files viewable on iPads for delivery to the production team network executives and others in the approval chain. For final post work MTI Film employed a flexible workflow to accommodate the show’s extremely tight delivery schedule. For several episodes the facility “pre-graded” and “pre-conformed” the show before editorial was locked. “We would take the show at whatever state it was in—it might be a producer’s cut that ran several minutes long—and ‘soft’ lock it and then take it through the grading and finishing process ” Raber explains. “Four days later when the show was formally locked we would re-conform.” The re-conform Raber notes was done using MTI Film’s proprietary “color trace” process that allowed color decisions made during the earlier grading process to be reapplied. “The color values were already in place and could simply be dropped into the locked cut ” Raber says. “That process would only take 15 minutes.” At that point final colorist Steve Porter merely had to add in and grade visual effects scenes and make minor adjustments. “We were able to complete the show in as little as an hour ” Raber observes. “It allowed us to make our deadline without incurring overages. It was the only way we could have made Longmire work.” “It has been stupendous ” concludes Raber. “Our workflow was never the same from one episode to the next. The flexibility on MTI Film’s part was stellar.” ,3518
Market Study Looks at Theater Outlook and 3D,2012-09-01,The report titled The U.S. Theater Industry Outlook to 2016 - Favorable Prospects in 3D Segment provides a comprehensive analysis on the theater industry size in terms of the number of screens theaters admissions and box office revenue. The report also provides the market segmentation by type of screens 2D and 3D revenue along with demographic profile of an average moviegoer. The report discusses the new innovations such as seating arrangements projection styles dining in the auditorium accompanied with recent developments in the industry. The report has detailed coverage on the competitive landscape by theatrical admission and concession revenue. The macro economic factors such as the average expenditure online piracy and threat from alternate sources of entertainment have also been provided to understand their impact on the industry.    Among the topics the report covers are the U.S. theater industry market size on the basis of box office revenue number of theaters screens and admissions market segmentation by type of screens and audience by gender and age group along 2D and 3D movies revenue and market share of leading U.S. theater chains on the basis of admissions revenue and concession revenue along with a company profile of Regal Entertainment Group AMC Entertainment and Cinemark Theaters    Finally the report also offers projections and outlook of the U.S. theater chain industry and growth opportunities and innovation.    U.S. Theater Industry Outlook http://www.researchandmarkets.com/publication/sux76o/the_us_theater_indu...    ,3519
Sensio Big Picture Digital Productions Announce Distribution Deal,2012-09-01,Sensio Technologies has announced an agreement with Big Picture Digital Productions to distribute 3D movies via on-demand rental on 3DGO!. Available this fall across the US 3DGO! is the first dedicated 3D transactional video on demand service that offers the largest selection of high-quality 3D content – including Hollywood blockbusters and must-see documentaries – to consumers whose 3DTVs support Sensio 3D technology. Big Picture hosts a slate of Independent Imax films from MacGillivray Freeman Films Stephen Low Productions K2 Communications Giant Screen Films and Sky High Entertainment. Big Picture’s library includes more than twelve 3D Imax. “We are thrilled to partner with Sensio to bring these 3D Giant Screen documentaries into the homes of the consumers ” said Ryan Mullins CEO at Big Picture Digital Productions. “We know that the quality that Sensio Hi-Fi 3D technology provides will do justice to these meticulously crafted movies and will bring the best in-home 3D experience to fans. 3DGO! is the next big thing in home entertainment and we are convinced it will prove itself to be the favored option for 3D VOD.” “To have Big Picture’s striking 3D content available on 3DGO! is a substantial addition to the service and speaks to our shared dedication to offer a wider range of first-rate movies to 3D enthusiasts who are craving more content ” said Richard LaBerge Sensio executive vice president and CMO. “Moreover this deal provides Sensio with exclusive VOD distribution rights in China marking another important development in our strategy for this territory. This agreement therefore demonstrates our commitment to the crucial Chinese market where the enthusiasm for 3D is undeniable. It also represents a clear indication of the progress we are making in securing this market for our overall business development plan as well as for a future expansion phase for 3DGO!.” ,3521
Principal Photography Underway on Someone Marry Barry
 ,2012-09-01, Principal photography has begun on Someone Marry Barry a comedy written and directed by Academy Award-nominee Rob Pearlstein starring Tyler Labine Damon Wayans Jr. Lucy Punch Hayes MacArthur Thomas Middleditch Frankie Shaw and Amanda Lund. Producers are Josephson Entertainment’s Barry Josephson along with Marisa Polvino and Kate Cohen of Straight Up Films. Executive producers are Josephson Entertainment vice-president Alexander Young Madrose Productions’ Jeremy Bailer and Marc H. Simon at Cowan DeBaets Abrahams & Sheppard LLP who packaged the project. Someone Marry Barry follows three friends who plot to get rid of their socially inappropriate friend Barry by finding him a wife. But when Barry finally meets a woman she turns out to be just like him and now the guys have to deal with not one but two Barrys. Through their tribulations with this uncensored duo the guys learn some truths about the nature of friendship and love. “Rob Pearlstein is a truly gifted comedy writer/director and his script for Someone Marry Barry is as inappropriate and outrageously funny as the main character of Barry – it really delivers big laughs. Also I have a socially inappropriate friend that's haunted me since high school; perhaps when he sees Rob's film he'll leave me alone. Oh and yes that's the bonus for us producing Someone Marry Barry ” says Josephson. “The funniest most outrageous characters are often relegated to the role of sidekick ” says Pearlstein. “We’re bringing those characters front and center and giving them their own love story. But the movie is also a love story between the friends and at its heart it’s about how friendship endures against all odds.” ,3522
Sony Names Perry Director of Digital Motion Picture Center,2012-09-01, Dan Perry has been named director of Sony’s Digital Motion Picture Center. The DMPC as it is known in the industry is located on Stage 7 at Sony Pictures Entertainment and is designed to provide a unique creative environment for shooting and evaluating images.
 
Perry will manage both the daily activities at the DMPC and the long-term vision for this one-of-a-kind facility using his extensive experience in bringing new technologies to Hollywood’s brightest creative minds. During his 16-year career at Sony Perry has been instrumental in creating widespread acceptance for landmark technologies in the motion picture and television industries including Sony’s XDCam system for reality TV and the HDCam SR format for episodic television and motion pictures.
 
 “Dan has great relationships in Hollywood with the Guilds unions post production houses and cinematographers ” said Alec Shapiro president of the DMPC. “He has an intimate knowledge of our customers’ specific needs and he understands the importance of tailoring solutions to meet these unique requirements. I’m confident that his efforts will continue to make the DMPC an invaluable resource for production professionals.”
 
 In addition to Perry the DMPC team includes Keith Vidger Dhanendra Patel Kazuo Endo Joel Ordesky Rob Willox and Jaclynne Gentry.   Supporting the DMPC is a full roster of accomplished creative professionals like Curtis Clark ASC who plays a key role in developing and managing the DMPC’s educational curriculum.
 
Open since May the DMPC offers weekly training classes on a range of topics including:  camera operation on-set color management data handling dailies creation editing and color grading. Complementing Sony’s camera technology is some of the industry’s best equipment including products from Adobe Angeneiux Anton Bauer Assimilate Avid Blackmagic Design Chapman Colorfront Cooke FilmLight Fujinon Leader Leica MTI O’Connor and YoYotta.
 
 The DMPC’s weekly hands-on training courses focus on Sony’s full range of Super 35mm cameras - most notably the groundbreaking F65 CineAlta Digital Motion Picture Camera. In addition to training productions interested in the F65 for features and television can test the camera and the workflow of their choice at the DMPC. ,3523
Technicolor SmartJog to Partner in Distribution in Europe ,2012-09-01, Technicolor is expanding its digital cinema satellite distribution service in Europe entering a partnership with electronic delivery provider SmartJog. The new partnership agreement enables Technicolor to offer the market a complete service for distribution using the SmartJog satellite network which has access to more than 1000 sites in nine European markets.
  “SmartJog a TDF Group company has a well-established European digital cinema network which Technicolor will offer to its clients to distribute features and trailers on a pan-European basis ” said Claude Gagnon president of Technicolor Creative Services division. “At Technicolor we are always looking for new ways to improve efficiency of our service to the industry whether that is through innovation or partnership deals such as this one with SmartJog. Technicolor provides its clients the benefit of working with a single vendor to manage worldwide releases without the need to manage multiple providers across the globe.”
 
 “We are pleased to be partnering with Technicolor in Europe who will offer its studio customers a fully-managed end to end electronic delivery solution directly to cinemas via our network ” said Jean-Sébastien Petit CEO at SmartJog. “This partnership will further help electronic delivery become an industry standard in distribution of DCPs to cinemas. Our company is focused on accelerating our pan-European network rollout with the objective of having 100 percent of first-run cinemas in target countries connected by 2016 and furthermore we are investing in our network infrastructure. We have recently doubled our satellite capacity in Europe to support our growth.” ,3524
Royal Opera House Production of Madame Butterfly 3D Screened in Canadian Theatres,2012-09-14, The Royal Opera House production of Madam Butterfly 3D made its Canadian screen debut September 5th at Landmark Cinema in West Kelowna British Columbia. RealD’s 3D cinema technology was used to capture the visuals of the feature film which was captured during live performances at Covent Garden. Barco’s Auro 11.1 provided the 3D audio for several screenings of the film. Madam Butterfly 3D marks the second co-production between London’s Royal Opera House and RealD. In the summer of 2010 the companies successfully launched their first collaboration the 3D feature Carmen in 3D at cinemas around the world. “We took all the original production elements including the acoustics of the hall in which the performance is captured which allowed us to expand the space of the auditorium from a sound perspective ” said Brian Claypool senior director strategic business development at Barco. “We then modeled the sound design based on the hall itself. In this way we have created an incredibly enhanced immersive sonic experience that is the perfect match for the stellar 3D images the production mastered.” “Madam Butterfly 3D leverages the immersive power of RealD 3D so audiences feel as if they are in the audience at the famed Royal Opera House creating a truly differentiated theatrical experience ” said Joseph Peixoto president worldwide cinema from RealD. “Adding Auro 11.1 furthers the audience immersion through an audio experience that complements the lifelike 3D visuals on screen.” “While visual technology has progressed from film to digital and then to RealD 3D sound technology has not evolved very much in nearly 20 years. Auro 11.1 allows sound technology to ‘catch up’ to the current visual presentation systems – bringing a total immersive experience to the movie-going public. We are delighted that Auro 11.1 is quickly gaining traction in the industry and we are excited about this recent collaboration with RealD. Madam Butterfly 3D is a perfect vehicle for the enhanced immersive reality that Barco’s Auro 11.1 technology can provide ” said Wim Buyens senior vice president for Barco Entertainment. ,3529
Digital Cinema Pioneer Bob Lambert Dies,2012-09-14, Bob Lambert respected throughout the entertainment industry as a digital media trailblazer died of unnamed causes on Friday at his home in Glendale his family announced this week. He was 55. Lambert played a central role in the development of computer animated feature films and in the transition from film to digital cinema exhibition. He was a senior executive at The Walt Disney Company for 25 years until 2010 working in motion pictures television gaming e-commerce and social media. In his final position at the studio Lambert served as the senior technology executive in charge of strategic planning intellectual property patent strategy standards and regulatory issues and talent recruitment. While working for Disney Feature Animation Lambert conceptualized a strategy and methodology for replacing cel animation with CGI production. He selected Steve Job’s newly acquired company Pixar to design the software and oversee the collaborative process between the two companies. The resultant digital production system earned Disney an Academy Award for Scientific & Technical Achievement. Lambert was also a founder and chairman of the Digital Cinema Initiative the six-studio consortium that laid the groundwork for the historical transition of movie theaters from film to digital exhibtion by establishing and documenting digital cinema specifications that ensure a uniform and high level of technical performance reliability and quality control. Lambert was chairman emeritus and chief strategic officer of the University of Southern California’s Entertainment Technology Center a think tank that brings entertainment studios technology providers and other key industry stakeholders together in order to improve digital entertainment initiatives. Said Kenneth S. Williams [email protected] CEO and executive director Bob was one of the most respected technology executives in the media and entertainment business. Always generous with his time his friendship and tremendous insight will be greatly missed.” Recently Lambert served as CEO of The Digital Firm in Los Angeles and was named executive vice president of strategy and innovation for The World Technology Network. He was also instrumental in launching CityWorks (X)po in 2011 the first national conference to explore the ascendency of small cities. Prior to Disney he was executive director of development for Paramount Pictures. Lambert was an active member of the Academy of Motion Picture Arts and Sciences Technology Council and a fellow of the Society of Motion Picture & Television Engineers. He also served as a judge for the Collegiate Inventors Awards and the Academy of Television Arts & Sciences Technology & Engineering Emmy Awards. Lambert held 30 patents in media technologies and was named an industry pioneer by ShoWest (now CinemaCon) outstanding alumnus of Virginia Tech and received an Astrolabium Award from the International Electronic Cinema Festival. Extraordinarily generous with his time Lambert served on the board of directors for numerous universities start-up ventures and non-profits including USC Virginia Tech the American Film Institute and the FIRST program. Lambert is survived by his wife Cheryl Murphy brother Paul Lambert and nephew Nathaniel Lambert. The family did not announce plans for a service and requested privacy. Contributions honoring Lambert can be sent to the American Society for the Prevention of Cruelty to Animals (www.aspca.org/donate/).