Schneider Optics has announced that it is manufacturing and distributing an In-Camera Filter System developed by rental house Clairmont Camera for the Arri Alexa camera. Working closely with Schneider Clairmont Camera’s Andree Martin and Alan Albert designed custom assemblies that hold interchangeable Schneider filters in front of the Alexa’s CMOS sensor assembly.
The kit includes a specially designed magnetic filter holder that replaces the light baffle in the Alexa camera. Once in place the assembly allows secure mounting and precise positioning of the specially manufactured ultra-precision Schneider filters.
Clairmont Camera’s CEO Denny Clairmont says the high light sensitivity of the Arri Alexa (600 ISO and beyond) makes use of neutral density filters particularly important. “One of the things cinematographers appreciate most about the Arri Alexa is the excellent light sensitivity. Working at higher ISO ratings can lead to lots of ND if you want to shoot wide open. The standard In-Camera Filter Kit consists of an in-camera filter holder with cover ring all required shims (to precisely compensate for the focus change resulting from the behind the lens filter) a filter installation tool and seven (7) mounted Schneider Ultra Precision Multi-Coated In-Camera Filters: Clear IRND .3 .6 .9 1.2 1.5 and 1.8.
With the new system a camera assistant can change the filters in a few minutes. When no filtering is desired a clear filter is used to precisely maintain focus. All filters for the system are high-efficiency multi-layer coated to minimize flare and ghosting.
The In-Camera Filter Kit for the Alexa will interface with most PL lenses but is not compatible with Zeiss T2.1 16mm 24mm 32mm Arri Macro 16mm 24mm and 32mm as well as Cooke Series II and III 18mm 25mm and 32mm. Lens extenders may also interfere with the kit’s filters.
The Alexa In-Camera Kit is also available without filters so users may buy only the filters desired. Schneider Optics anticipates adding other popular filters to fit the kit such as the Black Frost. ,4006
Digital Cinema Society Celebrates 10th Anniversary,2013-04-02, The Digital Cinema Society is celebrating its 10-year anniversary as the industry’s leading nonprofit educational cooperative dedicated to informing the entertainment industry regarding the integration of new technology. DCS president James Mathers said “It’s been an evolutionary decade for the way motion pictures are captured posted and exhibited most notably via a transition from celluloid toward the use of digital technology. We have never celebrated or sought to accelerate this process but we have made it our business to try to objectively track these changes and help our members adapt to them.” Mathers and his team covered last week’s NAB 2013 with a comprehensive digital show tour that can be viewed on www.DigitalCinemaSociety.org.
The Digital Cinema Society was formed in 2003 as an outgrowth of a documentary entitled Digital Cinema Solutions that featured interviews with industry luminaries such as James Cameron George Lucas Stephen Soderbergh Robert Rodriguez and Allen Daviau. Mathers said “It was a labor of love and I’m very proud of the documentary but with the technology evolving so quickly the piece was almost obsolete before we could finish it. That is why we decided to make it an on-going effort based on a website that could be more easily updated.” The Digital Cinema Society now has an international membership nearing 6 000 and holds regularly scheduled educational events which are recorded for later streaming from their website. A monthly enewsletter also features technology news and helps members keep up with the latest developments in the field of digital cinema.
Photo: James Mathers president Digital Cinema Society and Simon Sommerfeld president Northern California Chapter DCS ,4009
Dean Gentile Promoted at Digiplex,2013-04-02,Dean Gentile has been named vice president operations of Digital Cinema Destinations. In the newly created position he reports to Chuck Goldwater senior vice president. Gentile joined Digiplex in 2010 and has had principal operating responsibility for the circuit's multiplex cinema locations in Connecticut New Jersey and Pennsylvania. Dean's knowledge and experience with virtually every aspect of theater operations including revenue enhancement expense management loss prevention training safety and guest services make him a crucial member of the Digiplex management team said Bud Mayo Digiplex chairman and CEO. As Digiplex executes its aggressive expansion strategy into the top 100 U.S. markets his skills and ability to connect with and motivate our growing employee population is vital. In his new role Gentile will oversee operations of 18 all-digital cinemas with a total of 178 screens located in Arizona California Connecticut New Jersey Pennsylvania and Ohio. He will also be instrumental in the integration of additional cinemas in the Digiplex acquisition pipeline. Prior to joining Digiplex he had been an independent theater operator and held various responsibilities over 20 years with major motion picture exhibitors Regal Cinemas Crown Theatres and Clearview Cinemas. Gentile and his family reside in Rockland County New York. ,4010
DPS Production Specialists Cineo Lighting Form Rental Partnership,2013-04-02,DPS Production Specialists of Burbank California has announced a strategic rental partnership with the newly formed Cineo Lighting to provide motion picture and television lighting products for its North American rental clients. We are very excited about the opportunity to provide Cineo Lighting's RPT based lighting systems to our film and television clients said Paul Kobelja vice president motion picture for DPS. Cineo Lighting is the leading brand for Remote Phosphor lighting technologies and have unparalleled qualifications as a partner for DPS as we begin to respond to the increased demand for this advanced lighting technology where color-correctness and superior color rendering are required. Rich Pierceall executive vice president sales and marketing for Cineo said DPS is the rental company to watch for providing effective solutions to challenging problems in the high-stakes world of motion picture production. We're looking forward to helping DPS exceed their customer's expectations by providing the latest lighting products such as TruColor HS TruColor Foton and our new products being introduced in the coming months. ,4011
European Audiovisual Observatory Issues Report on Morocco,2013-04-02,The Euromed Audiovisual III Programme of the European Union in collaboration with the European Audiovisual Observatory has just published a report on the film and audiovisual sector in Morocco. It follows a 2012 report on Egypt and is the second of a series of monographs prepared in the context of data collection on the audiovisual sector in the nine partner countries. Both reports are available only in French. According to the Ambassador E. Landaburu “Those monograph reports are not meant to help evaluate national film and audiovisual systems nor to provide recommendations but to offer valuable information enabling professionals in the countries in question and Europe to have a better understanding of the situation in order to facilitate regional partnerships.” This report provides a comprehensive overview of the various economic aspects of the audiovisual sector in Morocco (television on-demand services) as well as of the film sector and also provides a description of the institutional and regulatory framework and of telecommunication infrastructures (DTT IPTV broadband networks mobile telephone). It provides data on the different aspects of the sector and draws on information collected from public bodies professional organizations private sources and the press. Following the most recent decisions announced in January 2013 the Moroccan film agency (Centre cinématographique marocain – CCM) established two commissions to support film festivals and to contribute to the modernization and digitization of cinemas. Furthermore the Ministry of Communication has announced the creation of a web portal dedicated to project submission. It aims at ensuring greater transparency between public distributors and independent production companies. Wolfgang Closs executive director of the European Audiovisual Observatory said “This report has already made a positive impact. It has enabled the Executive Council of the Observatory to be aware of the tremendous work achieved by the Moroccan authorities to improve transparency in the sector and face the challenges of digitization. Remarkable progress was made especially with regards to film data collected. Last November our Executive Council agreed to the accession of Morocco to the Observatory. This procedure should be completed in the course of 2013 with a decision by the Committee of Ministers of the Council of Europe.”
The reports are available here: Euromed Audiovisual III: http://www.euromedaudiovisuel.net European Audiovisual Observatory: http://www.obs.coe.int/ ,4012
IndieFlix Launches Xbox Live App,2013-04-02,IndieFlix has launched a new app that enables for Xbox Live Gold subscribers in the United States Canada United Kingdom Ireland Australia and New Zealand to watch the IndieFlix library of film festival favorites and curated independent shorts features documentaries and web series through their Xbox 360. “We think the Xbox audience ‘gets’ independent film ” says filmmaker Scilla Andreen IndieFlix CEO and co-founder. “We believe they’ll love the original content and appreciate the raw creativity of these fiercely independent artists who work outside of the system to make the movies they want to make – no need for permission or bowing to someone else’s editorial control. And the breadth of films – two-minute shorts to full length features; action animation zombies dark comedy mockumentaries to serious political commentary – will satisfy any appetite.” The IndieFlix app is being launched in six countries reaching millions of Xbox Live subscribers. “The sheer size of the Xbox market catapults indies into the limelight ” says Andreen. “Independent filmmakers will have unprecedented exposure for their work and indie film lovers will have access to movies from film festivals around the globe.” The global exposure will also have a financial impact for filmmakers. Explains Andreen “IndieFlix shares revenue with our filmmakers through our Royalty Pool Minutes model – filmmakers get paid for every minute watched by a subscriber. More members equals more revenue for filmmakers equals more movies. We’re excited to see the world support independent film.” The IndieFlix app will feature a rotating collection of movies that can be watched for free on Xbox in addition to full access through an IndieFlix membership. IndieFlix subscribers using Xbox Live will simply link their memberships to watch on their home TVs. Please visit IndieFlix at http://indieflix.com ,4015
Kinoton Digitally Links Viennese Theatres,2013-04-02,The Stadtkino in Hallein was built at its present location back in 1925. Between 1991 and 1993 the cinema was remodeled with two auditoriums. The Stadttheater in Gmunden built in 1872 has the status of a cultural center in the area around Lake Traunsee. The smaller of its two auditoriums with 89 seats is the only remaining movie theatre in Gmunden. The Top Kino in Vienna integrates a kitchen and bar and is a popular meeting place for cinema buffs culture connoisseurs and night owls. Today the theatres are linked using digital cinema technology. In order to seamlessly link the new digital cinema technology with classic auditorium functionality the cinemas in Hallein and Gmunden both opted for Kinoton DCA Digital Cinema Automation. To ensure maximum flexibility on an everyday basis the individual components were hooked up to the Kinoton CAN bus via flexible modules. Dolby CP 750 and CP 650 audio processors ensure quality sound. The Stadttheater in Gmunden now also boasts the integrated 3D system from Dolby. The comprehensive Kinoton Cine Perfect service and support concept systematically applies the wide-ranging possibilities of state-of-the-art information and communication technology. The Kinoton Remote Service enables any cinema to check the status of connected equipment in projection booths over the Internet. In addition Kinoton’s dense network of branches and service stations across Germany and Austria ensures that an expert repairman can be on site quickly if a problem should develop. The company’s seasoned service and maintenance technicians are able to track down and solve any technical problem in project booths or auditoriums. As part of its DCS Digital Cinema Solutions Kinoton installed equipment that included Barco DP2K-10Sx projectors and in all of the auditoriums its proprietary KRS remote maintenance system. ,4016
Doremi Passes 50 000 Mark of Units Sold,2013-04-03, Doremi Labs has announced that total shipments of its Digital Cinema servers and IMBs have exceeded 50 000 units worldwide. Demand for its DCI certified Integrated Media Block (IMB) with 3D High Frame Rate support 4K and alternative inputs continues to rise.
Doremi’s commitment to cutting edge cinema technology has played a vital role in enhancing the digital cinema industry. Doremi was the first to achieve DCI compliance with its DCP Server product line and has recently achieved DCI compliance with its newly introduced IMS1000 Integrated Media Server. Moreover the company’s involvement in 4K development and 3D High Frame Rate playback has been a major contributor to the company’s success. Doremi has been actively bridging alliances with international cinema operators seeking upgradable and future-proof products. Worldwide presence has been established as the company announced DLP based market share dominance in Australia New Zealand Latin America EMEA and North America. Doremi also brokered an exclusive deal to sell 350 digital cinema servers to China’s Wanda Cinema Line — the world’s largest cinema operator. These critical business achievements propelled Doremi’s sales and reputation as a market leader. “The 50 000 unit mark is a huge milestone for our company and it’s further evidence that Doremi is the top manufacturer driving the industry with its technological advancements ” said Michael Archer vice president of Digital Cinema Doremi Labs.
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Melbourne Convention Center Upgrades Goes Green,2013-04-03,One of Australia’s foremost event venues Melbourne Convention and Exhibition Center has upgraded its audio-visual capability while simultaneously enhancing its environmental credentials and is now the first Six Star Green Star environmentally rated convention center in the world MCEC uses solar panels to provide 100 per cent of public amenity hot water requirements deploys radiant slab heating and cooling and has used low VOC (Volatile Organic Compounds) throughout its building for nearly four years. In keeping with the ‘green’ theme MCEC had environmental considerations on its agenda when it came to choosing its supplier of video projection technology. MCEC’s director of technology operations Michael Walsh said “We were really on the hunt for the right product for our customers. The projectors are part of a continuing investment in technology at MCEC to ensure that we keep meeting our customer’s needs and lead industry when it comes to new products and innovation.” MCEC boasts 52 meeting rooms of various sizes gala dinner space the Melbourne Room a spectacular entry-level foyer and a 5 500+ capacity plenary that can be divided into three self-contained acoustically separate theatres and 30 000 square meters of exhibition space. F35 and F85 projectors from projectiondesigns are now used in 24 rooms at the convention centre and six meeting rooms in the exhibition center– many with alternative pairings of projectors and screens so that they can be used as long deep rooms or as wide shallow spaces. MCEC’s technology services manager Paul Rumble says that environmental considerations were included in his team’s planning of the equipment upgrade. “We value the environment and seek ways to lead industry in all areas of our business. When it came to the procurement process parameters such as power consumption and lamp usage had to be identified for each model in the proposal as well as current replacement cost for servicing and replacement parts like lamps filters and coolant.” The projectors were supplied by the manufacturer’s Australia and New Zealand distribution partner Hills Sound Vision and Lighting Group and installed by local systems integration firm Rigoni Hall. Andrew Shearer brand manager AV at Hills says “In the summer of 2012 both projectiondesign and ourselves worked closely with Rigoni Hall in putting together a compelling offer for MCEC’s projector refresh. Among the key elements of our proposal were the ruggedness and reliability of the projectors’ DLP light-source technology the ability of the projectors to operate 24/7 without any variation in performance and their predictable cost of ownership.” Mike Hall of Rigoni Hall confirms the strength of the supply chain throughout the tender design and installation phases. “This project was supported by projectiondesign’s fantastic customer-centric service ethic and technical resources ” Hall says. “Our company has 32 years’ experience in audiovisual and related industries so we understand the importance of specifying leading-edge technology that is also robust and trustworthy. As well as powerful dynamic imagery and accurate color representation projectiondesign’s products represent a business philosophy that is all about professional integrity and high-quality service. Designed for 24/7 operation with no filters and a variant of UHPTM lamp technology to increase longevity the F35 and F85 projectors deliver outstanding reliability and performance as well as a low total cost of ownership to MCEC.” Jason Coy regional manager Australia & New Zealand at projectiondesign says “Our F35 is the world’s only WQXGA projector which because it offers almost double the pixel count of comparable units reduces the channel count in complex systems by up to half – and does much the same to operating costs. The other model used in Melbourne the F85 is our top-of-the-range DLP projector boasting 3-chip technology for the ultimate in brightness and industry-leading color performance. Both models of projector have already been well received by MCEC staff and their customers alike. This is a landmark installation for projectiondesign and we are delighted to support MCEC’s commitment to sustainable technology.” Image courtesy Melbourne Convention & Exhibition Center and Chris Holder Alchemedia ,4018
Widescreen Climate Change Presentation Given IVCA Award,2013-04-03,The IVCA’s Silver Award for Best Post Production has been given to the widescreen presentation COP18 /CMP8 (Climate Change Conference) for the United Nations by WRG Qatar for COP18 and The State of Qatar. Mistika VFX artist and colorist David Cox was asked to post produce the high-resolution wide-screen presentation to be projected onto a seventy-meter wide screen for The United Nations Climate Change Conference. The size and shape of the final films demanded a specific resolution and aspect ratio. The conforming compositing and grading were carried out on a single Mistika post-production system in an uncompressed environment at a resolution of 7104 x 1080 which provided the very wide aspect ratio of almost 7:1. IVCA is an independent non-profit membership organization representing the creators and commissioners of film video digital and live events for the corporate and public sectors. As well as corporate producers and freelancers IVCA includes the leading commissioners including Government top FTSE companies and leading NGOs and Charities. They have also been helping spearhead UKTI's partnership program with China. A key partner for IVCA in China is the Digital Content Industries Association. Award winning films can be viewed on the IVCA Player which is an online showcase of the best work selected from across the three IVCA Awards Schemes. IVCA helps lead the communications industries through thought leadership and working closely with the UK Government particularly BIS DEFRA and UKTI and partner organizations. From client sign-off in mid October last year the film was managed in six different locations with 33 shooting days (condensed into three weeks) where more than 12 terabytes of film collateral amazing stories incredible graphics air miles great distances were travelled to produce a breath-taking 23-minute film. The presentation produced by global corporate communications agency WRG Qatar LLC and directed by Ollie Solman consisted of five separate films shot in varying locations including The Maldives and Madagascar. These were introduced and linked by a presenter who was filmed in a green screen studio. The final combined film was post produced at an ultra high resolution of over 7000 horizontal pixels and projected by four side-by-side HD projectors at the U.N. conference based in Doha Qatar. Cox says “These types of projects are quite challenging but also a lot of fun to do on Mistika because of the freedom the system provides to work in high resolutions and unusual aspect ratios. This project pushed the boundaries and utilized Mistika's capabilities to the fullest including compositing grading conforming and delivering. The first few minutes of the film features a presenter who was shot against green screen. This was changed for a digital white cyc background with weather effects shadows and animated graphics added behind and around her. Then there were five location-based films that were introduced and linked by the green-screen host. Each of these were shot in locations from around the world and on a variety of cameras including Red Epic Canon 5D and Go Pro which were all conformed and graded within Mistika.” Cox adds “Obviously the frame shape is very different to the normal aspect ratios of the supplied images. Where the source material was from Red Epic Mistika allowed me to work directly from the 5K footage without transcoding allowing me to frame and grade the shots as needed in real-time without processing. Where the source material was from a lower resolution format such as Canon 5D or Go Pro I used Mistika's compositing features to multi-layer shots to make up a collage of images to fill the frame.” Cox says “The most impressive aspect of Mistika in a project of this scale is that despite the high resolution and odd frame shape was that I was still able to work in real-time for almost all of the grading and multi-layering of the images. When it came to the green screen sections all of the keying tracking and shadows were also completed in the same Mistika and on the same timeline. These aspects were essential to being able to react to client feedback promptly and to deliver this complicated project within a very tight post-production schedule.” Images courtesy of WRG Qatar ,4019
Cinedigm Acquires North American Rights to Static,2013-04-03,New Artists Alliance the independent studio behind the recent sales of Milo and Cheap Thrils at SXSW has finalized a deal with Cinedigm for the North American distribution rights to the 3D thriller Static. The feature was written by Todd Levin Gabriel Cowan John Suits and Andrew Orci and stars Milo Ventimiglia Sarah Shahi Sara Paxton and William Mapother. Levin directed the film. The story follows a young couple played by Ventimiglia and Shahi on the verge of divorce after losing their child. Their world changes when a young visitor arrives bringing supernatural implications to the household. Cowan and Suits of New Artists Alliance produced alongside Orci. Executive producers include Dallas Sonnier and Jack Heller of Caliber Media along with Kerry Johnson Ventimiglia and his DiVide Pictures producing partner Russ Cundiff. The deal was negotiated by Cinedigm's Vincent Scordino and Kristin Harris with Kevin Iwashina of Preferred Content. ,4020
Zacuto Introduces Grip Relocator C-Shooter Rig for Canon Cinema EOS Cameras,2013-04-03, Designed specifically for Canon’s Cinema EOS line Zacuto has introduced the ENG Grip Relocator and the C-Shooter rig working with the C100 C300 and C500 cameras.
Like a traditional ENG style camera the ENG Grip Relocator includes the Zacuto Grip Relocator (for the Canon C100-300-500) with a 15mm rod mount intended to put the grip directly to the side of the rods. To mount this combination to a rig just slide the mount onto a set of 15mm rails that run below the camera and tighten. The Canon C100-300 removable grip attaches directly to the Zacuto Relocator handle and the right angle cable connects to the port of the camera. The new ENG Grip Relocator is a simpler design that puts the C100 or C300 grip where most operators want it on the rods close to the lens and near the centerline of the rig said Patrick Fee product designer at Zacuto. For customers looking to add more ergonomics and functionality to a C100 C300 or C500 shoulder rig the ENG Grip Relocator is a no-brainer.
The C-Shooter rig is a shoulder-mounted rig that centers on the Zacuto Studio Baseplate with 12-inch rods for the Canon C100 C300 and C500 cameras. The kit is made up of a soft shoulder pad that just slides on the 12-inch rods has a 3.5lb weight that sits behind the shoulder pad (to create counterbalance) and comes with the Zacuto ENG Relocator. With the removable camera grip attached directly to the Grip Relocator and the cable connected to the port of the camera users have trigger or on/off control lens aperture control and a programmable function button that can be set to a number of things including waveform 1 to 1 zoom zebras my menu and many more. Fee said The C-Shooter has all the essentials: baseplate shoulder pad fully functional handgrip and a counterweight for balance. It's a great low cost shoulder rig with a lot of benefits and room to expand or accessorize. There has been nothing but positive feedback on this one. ,4021
Telline Purchases a Marquise Technologies Mist,2013-04-03,The French camera rental company Telline has purchased a Marquise Technologies Mist system to offer on-set services. Following their recent purchase of an Aaton Delta Penelope camera Telline was in need of a reliable and professional solution able to work in real-time and natively with the CinemaDNG files recorded by the camera. The choice for that was the Mist. What is also beneficial for Telline as they are renting multiple camera brands is the versatility of The Mist system is versatile because with its native RAW support it works with Sony F65 Arri Alexa Red Sony Panasonic BlackMagic or Canon C500 cameras all without previous transcoding which is a real gain of time on a set. On the dailies process Telline was also particularly keen on the multiple rendering capabilities of Mist: they are now able to prepare project templates for their customers including simultaneous threads of multiple renderings: DNxHD or ProRes for editing purposes or H264 or for tablet review or web streaming among many others. What I found the most remarkable the first time I had a look at Mist was the incomparably clear and logical user interface of Mist. Each process or feature was instantly understandable and that is key for on-set purposes says Rémy Goumain operations director at Telline. Managing dailies is not only performing transcoding of hundreds of files on the set it's a lot more says Laurence Stoll CEO of Marquise Technologies We are pleased that Telline at the forefront of their customer's needs selected MIST to offer new services on set. ,4022
24th Dusty Film & Animation Festival to be held May 4-7,2013-04-03,Reeves Lehmann chair of the BFA Film Video and Animation Department at School of Visual Arts has announced that the 24th Annual Dusty Film & Animation Festival will be held in New York City May 4-7. The four-day event will showcase more than 100 films and animations from thesis students graduating this spring. Annie Flocco independent producer/filmmaker and SVA faculty member will produce the event; Meredith Engstrom will co-produce. This year's Headlining Sponsors are: AbelCine; Act Zero Films; Adorama Rental Company; AJA Video Systems; Animation Magazine; Avid Technology; B&H Photo; Bryan Singer; CAVA – SVA Computer Store; Channel Frederator; Emmett/Furla Films; Feature Systems/Kits and Expendables; Foto Care; Gotham Sound & Communications; Independent Filmmaker Project; Machinima; National Board of Review; New York Women in Film & Television; Nice Shoes; Offhollywood; Rota6; Scheimpflug; and SCS Agency. One hundred percent of the sponsors' donations will benefit thesis students in the form of grants and in-kind gifts. The 2013 festival kicks off with three days of film and animation screenings and concludes with an awards ceremony on May 7. Fifteen awards—are given to students in recognition for outstanding thesis work. All festival screenings are free and open to the general public and take place at the SVA Theatre. The final list of presenters and special guests will be made public at a later date. We are thrilled the Dusty Film & Animation Festival is celebrating its 24th year said Lehmann. We hope the public will enjoy another great year of work from SVA's filmmakers and animators who we know will both entertain and educate a wide range of audiences both near and far. The Dusty Film & Animation Festival was established with the mission of introducing films made by BFA Film Video and Animation Department thesis students to a wider audience and was named after SVA Founder Silas Dusty H. Rhodes. Our annual festival receives industry wide recognition and is considered one of the top student film festivals in the country said Flocco. And the festival launches many of the students in their professional careers. ,4023
Dolby Atmos Gaining Momentum,2013-04-13,Since last year when Dolby debuted its new sound format Atmos and just 10 months since the first Atmos-mixed movie was released more than 35 films around the world have been announced or released with Dolby Atmos sound. With more than 100 screens enabled and more than 20 global post-production facilities capable of Dolby Atmos mixing the format has quickly become a preferred choice for next-generation sound in the cinema with major studios directors sound teams and exhibitors from around the world adopting the solution. At the CinemaCon conference this week in Las Vegas Dolby is announcing the new Atmos Cinema Processor CP850. The new CP850 offers a complete audio solution to today’s digital cinema theatres and brings a natural realistic and immersive sound experience to audiences with Dolby Atmos. Using specific speaker location and performance attributes the CP850 renders in real-time a custom mix for that room that accurately replicates the audio experience intended by the sound mixer. The CP850 also supports Dolby Atmos playback of up to 64 speaker feeds configurable between 16 analog outputs and a Dolby Atmos Connect output. The CP850 supports Dolby Surround 7.1 and 5.1 digital playback as well as common Dolby formats used with alternative content in cinemas: Dolby Digital Plus Dolby E and Dolby’s latest up-mixing technology. To ensure proper setup and playback each CP850 also includes Dolby’s Commissioning Service. Over the past year Dolby sound engineers have worked closely with exhibitors installers studios and mixers to ensure all installations meet consistent and high performance standards. The CP850 works seamlessly with Dolby’s own DSS200 or DSS220 / CAT745 IMB or digital cinema servers from other companies. All major server manufacturers have been given access to Dolby’s technical specifications and a detailed reference design for integrating Dolby Atmos support into their products. The Dolby Atmos Commissioning Service is included with each purchase of the CP850. The service provides a review of the cinema’s sound-system design to ensure that the speakers and amplifiers have the necessary performance and room coverage to deliver a high-quality Dolby Atmos experience. Also included is the initial room equalization after the equipment is installed. ,4031
ECA Screen Digest Release Alternative Content Research,2013-04-13,A Digital Cinema Report Exclusive The Event Cinema Association and IHS Screen Digest have released a brand new body of research in the area of Alternative Content also known as Event Cinema for the first time. Recognizing a need for hard facts in this emerging market the ECA and IHS Screen Digest have collaborated on this new research with some surprising findings that stand to shape the industry and ultimately encourage and attract investment. A cross section of European territories from Ireland to Russia was examined with the assistance of ECA members and others and while the data confirmed some more obvious patterns others are emerging that will prove fascinating over the next 12-24 months. A wealth of pan-European statistics has been collected and analysed for the first time since the emergence of Event Cinema back in 2006 and among the trends established IHS Screen Digest has learned that contrary to many assumptions the number of recorded events is actually growing and business models for both live and recorded are developing and co-existing happily. Certainly exhibitors have the flexibility of recorded events to schedule around their mainstream content and the opportunity to build their audience and market accordingly although live events undoubtedly have the thrill factor and temporal experience that appeals to audiences more and box office results reflect this. Indeed the highest grossing event ever screened was a live show by French comedienne Florence Foresti staged by Pathé Live in September 2012 registering an astonishing 87 000 admissions in France Belgium and Switzerland (at €10 a ticket this produced €1.2 million in admissions in a single performance). Comedy until now has been the subject of debate about its potential success in the cinema but clearly this shows that executed properly the rewards are significant. 3D is also less of a driving factor given the hype it’s had but event cinema is still young and this may change as production costs reduce over time. Overall the number of 3D events in the Event Cinema space seems to be slightly diminishing though that may not be an indication of long term decline and rather a symptom of the one-off nature of event cinema programming against the high production costs. TV events are very popular in the Netherlands making up 23% of all event cinema programming just behind the behemoth of opera (streets ahead of all other genres in every territory studied); in other words almost one in 4 events was a TV special. This seems unique to the Netherlands but much can be learned from such success. Senior principal analyst and director of IHS Screen Digest David Hancock who wrote the report said “It’s very exciting to see event cinema data presented for the first time like this. So far our research has focused on US and UK markets where we maintain a tracking database; until now we have not had access to research from other European markets. I would like to thank the ECA members and other organizations like Nevafilm and CinemaDigitaal for enabling us to put together this report that presents a factual analysis of the state of the Event Cinema market. I hope the results gives people pause for thought and help the market to evolve in a more informed way.” He added “I look forward to updating this once the ECA’s membership builds to such a significant level that visibility in this key growth area becomes not only expected but essential to the business planning for exhibitors and distributors. That is a sign of a maturing market. “ Melissa Keeping chair of the ECA said “One of the key missions in setting up the ECA last year was providing the industry with clear and current data and with the analysis provided by David Hancock and IHS Screen Digest this is a real milestone for the ECA as much as the industry. The report is fascinating and European exhibition and distribution will certainly benefit from the willing collaboration of the ECA members without whose help this would not have been possible.” Graham Spurling Director of Movies@ Ireland and a member of the ECA said “In Ireland our company has been supportive of event cinema since the start and it’s fantastic to see such progress in so many markets and a few surprises in there as well. Event cinema is the only growth area in exhibition these days and it’s a sign the industry is coming of age with the release of this report.” Event Cinema in European Cinemas will be available for download via IHS Screen Digest (www.screendigest.com) and the ECA (www.eventcinemaassociation.org) from April 16 2013. For more information please contact Melissa Keeping: [email protected] or David Hancock david.hancock@ihs .com ,4032
Chesapeake Films begins work on Dino Costa Documentary,2013-04-30,Chesapeake Films has started pre-production for a documentary to be completed in this year about the life of controversial SiriusXM Radio personality Dino Costa. Filming will begin in Cheyenne Wyoming on April 18. The documentary film will be directed by Joel Franco cinematography by Darko Nikolich edited by Anthony Bernard sound design by Karol Urban and original music by Marianthe Bezzerides. The film will begin shooting in Wyoming where Dino Costa resides and produces his daily radio sports talk show The Dino Costa Show. The crew will then follow Costa to New York NY to continue filming Costa's hometown friends fans and family. Franco says he wanted to do the film because Dino is a breath of fresh air in the world of cookie-cutter sports talk radio. He is fiercely independent and connects with his audience like few can. I just knew that under that big personality was a story waiting to be told. I am so excited to begin. When asked about the film Dino Costa said When I embarked on my career as a talk show host I wanted to achieve many objectives; I never thought about the possibility of someone wanting to do a film about my career and my life. In speaking with Joel about his vision for this film I'm confident that collaborating with the crew at Chesapeake Films will culminate in a documentary about my life that people will find interesting and compelling. Chesapeake Films www.chesfilms.com ,4035
Cinedigm BitTorrent Partner on Arthur Newman,2013-04-30,Cinedigm and BitTorrent have announced a promotional partnership to support the release of Arthur Newman the feature film starring Colin Firth and Emily Blunt which Cinedigm brought to theaters on April 26th. Utilizing the BitTorrent suite of software products Cinedigm will invite fans to exclusively view the first seven minutes of the film prior to its theatrical release. Additional materials will include stills from the film the official one sheet and the film trailer. “Cinedigm’s entrepreneurial marketing style is reflected in this partnership between Silicon Valley and Hollywood ” said Cinedigm chief marketing officer Jill Newhouse Calcaterra. “ By offering consumers legitimate content via the BitTorrent suite of software products we continue to find creative ways to locate avid audiences for our films.” “This is a visionary move by Cinedigm and represents a significant shift in how the media industry perceives BitTorrent ” said Shahi Ghanem chief strategy officer of BitTorrent. “Cinedigm is leading a renaissance in indie content distribution and BitTorrent is a great fit as a technology partner. “We’ve demonstrated success in forming deep relationships between audiences and creators growing revenue and even driving box office traffic for content creators ” said Ghanem. “Cinedigm is one of our most forward-thinking partners and the first with a theatrical release of such magnitude. We’re able to connect Cinedigm with real movie fans that actively support content creators and by doing so BitTorrent Inc. can demonstrate how we add value through continued innovation. One of most highly praised films at this year's Toronto Film Festival Colin Firth and Emily Blunt star in the story of a depressed divorced dad who fakes his death and adopts a new identity then meets a troubled woman who spurs him on to improbable new heights during a cross-country road trip. Written by Academy Award nominee Becky Johnston (Prince of Tides Seven Years in Tibet) and directed by first-timer Dante Ariola Arthur Newman follows the mid-life travails of sad sack Wallace Avery (Firth). He hates his job his ex-wife and son hate him and he's blown his one shot at living his dream. Not wanting to face all this he stages his own death and buys himself a new identity as Arthur Newman. However Arthur's road trip towards a new life is interrupted by the arrival of the beautiful but fragile Mike (Blunt) who is also trying to leave her past behind. Drawn to one another these two damaged souls begin to connect as they break into empty homes and take on the identities of the absent owners: elderly newlyweds a high-roller and his Russian lady among others. Through this process Arthur and Mike discover that what they love most about each other are the identities they left at home and their real journey that of healing begins. The film was produced by Vertebra Films and Cross Creek Pictures and was executive produced by Lisa Bruce Andy Cappuccino Helen Cappuccino Mac Cappuccino Natalie G. Hill and James A. Holt.
Schneider Optics Making Distributing Clairmont In-Camera Filter System for Alexa
