Following the launch of its new International Film Fund at the start of the Cannes Film Market Singapore's Media Development Authority has announced the appointment of Hong Kong's Distribution Workshop as the worldwide sales agent for the first batch of films produced under the IFF. Since the announcement of our International Film Fund we have received a number of queries from potential partners around the world. We are delighted to partner Distribution Workshop which brings on board the international sales expertise and network to introduce our upcoming IFF projects to audiences worldwide ” says Dr. Christopher Chia MDA's chief executive officer. “Distribution Workshop is extremely pleased to be working with MDA on their initiative in stepping up production in the international arena ” says Nansun Shi chairman of Distribution Workshop. We welcome this move which would incentivize more international involvement in making quality Asian films with mass appeal. Application for IFF is now open. The deadline of the first call of proposals is July 31. Applicants already associated with sales representation are welcome to apply but must be open to negotiating territories with Distribution Workshop. Selected applicants will be required to pitch their projects to a committee comprising representatives from MDA and Distribution Workshop. Upon selection the winning projects will have their own dedicated distribution executives involved from the onset of pre-production. After completion Distribution Workshop will distribute the films worldwide. Media Development Authority of Singapore www.mda.gov.sg ,1033
Sundance in New Mexico Partnership Announced,2009-06-11,New Mexico Governor Bill Richardson has announced a new collaboration between Robert Redford and the State of New Mexico that is currently referred to as “Sundance in New Mexico.” The initiative will partner with the Department of Cultural Affairs and the New Mexico Film Office to create and expand upon training programs in film arts and the environment. These programs will be designed specifically for New Mexico’s Native American and Hispanic filmmakers. The Governor was joined by Redford at a recent news conference at the State Capitol in Santa Fe. “This marks a new level of commitment on the part of Bob Redford and my administration in supporting the underrepresented voices in our culture to job creation through the arts and to the power of partnerships built on mutual goals and aspirations ” said Governor Richardson. “The Redford and Sundance names are held in high esteem around the globe and are synonymous in most people’s minds with innovation in the arts advocacy of the environment and public policy reflecting both. This is a tremendous opportunity for New Mexico’s Native American and Hispanic filmmakers and for the state as a whole.” “My love of New Mexico goes back many many years ” said Redford. “My commitment to this state began with The Milagro Beanfield War.” Sundance in New Mexico will be based at historic Los Luceros in Northern New Mexico a cultural treasure located along the Rio Grande that is owned and operated by the New Mexico Department of Cultural Affairs. In use as early as 1350 by the Tewa people of Pfioge Pueblo Los Luceros ultimately was pivotal in the development of commerce and government in New Mexico. “We are pleased that this collaboration will allow the Department to fulfill its dual mission of protecting the state’s cultural heritage while providing educational programs that will benefit the people of New Mexico ” said Stuart Ashman Secretary of the Department of Cultural Affairs. “During these tough economic times it is imperative to create partnerships which allow film and arts initiatives to not just survive but to flourish ” said Lisa Strout Director of the New Mexico Film Office. “This opportunity is an honor and a gift to the State of New Mexico.” The costs for Sundance in New Mexico will be covered with existing appropriations for the operation of Los Luceros. ,1034
Xpand to Collaborate with Yelmo Cines and Suministros Kelonik,2009-06-11,Xpand has announced their collaborative venture with Yelmo Cines one of Spain’s largest cinema chains and the country’s second largest programmer in conjunction with Suministros Kelonik Spain’s leading equipment installer. Yelmo Cines plans to add several 3D theatres in the coming year. Yelmo Cines which has 370 screens and growing a driving annual attendance over 12 million and a leading position will continue to help drive the digital expansion by installing 29 Xpand 3D screens in 2009 six which are already operating. “Spain continually proves to be a demanding cinema market and we’re extremely pleased to be partnering with our friends at Yelmo Cines—they’re an award-winning creative and well-respected exhibitor ” says Maria Costeira CEO of Xpand. “Our combined organizations share a valuable business relationship and believe there are many collaborative endeavors ahead as our mutual goal is to deliver the best 3D guest experience possible.” “We believe in offering the best cinema going experience to our patrons and in the case of 3D digital cinema Xpand is our selection for achieving this goal ” says Enrique Martinez technical director for Yelmo Cines. “In terms of technology Xpand has demonstrated with their new active glasses model the capacity for improving the 3D solution which is a key factor for us in an industry where the technology is moving forward very quickly.” Xpand www.xpandcinema.com ,1037
Michael Goi Named ASC President,2009-06-29, Michael Goi has been named president of the American Society of Cinematographers.
The members of ASC are committed to the ideals of the great cinematographers who created images for the classic movies we love Goi says. I remember being enormously touched when I saw The Graduate when I was eight years old. I didn't recognize it then but years later I appreciated how the artful use of light shadows and composition by Robert Surtees served the story. When I became a member of ASC I was surprised by how open and friendly everyone was. My heroes became my friends who openly shared their knowledge and feelings about filmmaking. There is an unbreakable camaraderie which I treasure. The other officers are vice presidents Richard Crudo Owen Roizman and Victor J. Kemper treasurer Matthew Leonetti secretary Rodney Taylor and sergeant at arms John C. Flinn III. The other board members are Curtis Clark George Spiro Dibie Richard Edlund John Hora Stephen Lighthill Isidore Mankofsky Daryn Okada Nancy Schreiber Haskell Wexler and Vilmos Zsigmond.
Goi says that the current generation of ASC members remains dedicated to the vision of the founders who were devoted to advancing the art and craft of filmmaking.
We are partnering with the Producers Guild of America on a groundbreaking assessment of film and digital cameras that are currently used during the production of theatrical motion pictures he says. We are also collaborating with other organizations including a previsualization subcommittee with the Art Directors Guild and Visual Effects Society designed to help drive the industry toward a higher quality bar for the art and craft of moving images.
Goi is a Chicago native who grew up making little 8mm movies with the help of neighborhood kids. He upgraded to using a 16mm Bolex camera by working odd jobs. After graduating from high school Goi studied filmmaking at Columbia College in Chicago. He began shooting PBS documentaries while he was still in college.
After graduation in 1980 Goi shot local commercials and documentaries and opened a still photography studio where he concentrated on fashion and product photography. Goi earned his first narrative film credit for Moonstalker in 1987. He received ASC Outstanding Achievement Awards nominations for the telefilms The Fixer (1999) and Judas (2005). Last year Goi also garnered an Emmy nomination for an episode of My Name is Earl.
His other credits include Witless Protection Fingerprints Red Water What Matters Most Who Killed Atlanta's Children? Christmas Rush Funky Monkey Welcome to Death Row The Dukes the Emmy Award-winning documentary Fired-Up: The Story of Public Housing in Chicago and the TV series The Wedding Bells and My Name is Earl. He also recently wrote produced and directed the narrative film Megan is Missing. Goi is a member of the Academy of Motion Picture Arts and Sciences as well as the Academy of Television Arts And Sciences.
ASC www.theasc.com ,1043
3ality Digital Receives Global Media Visionary Award
,2009-06-29, The National Academy of Television Arts & Sciences and the Sports Video Group have presented the Global Media Visionary Award to 3ality Digital for its live 3D production of the 2009 FedEx BCS Championship Game which took place last January in Miami Florida.
3ality Digital was presented with the honor alongside Sony Fox Sports and Cinedigm Digital Cinema all of whom were partners on the project. The groundbreaking event marked the first time a live 3D broadcast was made available to consumers nationwide with thousands of college football fans filling scores of movie theatres coast to coast to see the University of Florida Gators take on the University of Oklahoma Sooners.
“This is a tremendous honor and an important endorsement of the role live-action digital 3D will play in the future of sports broadcasting ” says 3ality Digital CEO Sandy Climan. “We are thrilled to be recognized with our valued partners for bringing a more immersive more dynamic sports experience to fans across the country.”
The Global Media Awards for College Sports celebrate excellence across the entire spectrum of college sports video production including work by colleges and universities national and regional sports networks and technology innovators. Jonathan Dern president of Cinedigm’s Entertainment Group says “We would like to express our sincere thanks to NATAS and SVG for this honor and to our partners Sony Fox and 3ality for helping to bring this event to audiences across the nation. We were extremely proud of this event as it marked an incredible new branding opportunity for content owners and particularly for sports entertainment. 3D live technology is steadily rolling out theatre-by-theatre nationwide and it is a huge opportunity for content owners and sports broadcasters to extend their franchises and immerse their consumers into the content they love.”
The 3D production of the BCS game proved the viability of a next-generation 3D viewing experience that can get college football fans out of their homes and into theaters says Ken Kerschbaumer SVG editorial director. The team at 3ality Digital played an important role in ensuring not only that viewers had a quality experience but that 3D productions are financially viable.
“The BCS game gave the general public its first taste of how digital 3D can transform the sports viewing experience on a massive scale ” says Steve Schklair CEO of 3ality Digital Systems the technology subsidiary of 3ality Digital. “Moving forward we’re committed to using our technology and expertise to further enhance the way in which consumers enjoy their live-action entertainment.”
3ality Digital www.3alitydigital.com Cinedigm Digital Cinema www.Cinedigm.com ,1044
Cinema Advertising Grew by almost Six Percent in 2008,2009-06-29, According to new Cinema Advertising Council report total cinema advertising industry revenues of CAC members – which account for more than 82 percent of U.S. movie screens – grew by 5.8 percent to $571 421 000 in 2008 as compared to a total of $539 946 000 in 2007. The announcement of the report – which was independently tabulated by Miller Kaplan Arase & Company – was made today by Dave Kupiec president and chairman of the CAC.
Cinema advertising grew despite a year that saw spending in other traditional media decrease significantly. Meanwhile since 2002 – the first year that cinema ad revenue was measured by the CAC – spending in this medium has increased for six consecutive years with an average of 21.5 percent per year and 2008 spending reaching a total that is 208 percent higher than spending in 2002.
“Marketers’ desire for engagement impact and ROI is stronger than ever and they are turning to cinema in increasing numbers ” says Kupiec. “Cinema is now a regular part of national regional and local media buys – no longer just used primarily for campaign launches or special events – and in addition to spending increases we are seeing a substantial rise in the number of national buyers as compared with previous years. Additionally with the box office and admissions up in 2009 the strength of the medium has never been more evident.”
The CAC report includes revenue data for both on-screen cinema advertising – including commercials airing in advance of movie previews and the feature presentation – as well as off-screen revenues – including those derived from audio programming sampling special events concession-based promotions and lobby-based promotions. On-screen revenues accounted for over 90 percent of total cinema advertising revenues. Additionally approximately 76.53 percent of total revenue is from national or regional advertisers (versus 23.47 percent from local sales).
Top national cinema advertising categories in 2008 included Associations & Causes Automotive Broadcast & Cable Television Consumer Electronics Consumer Packaged Goods/Health & Beauty Credit Cards Fashion Military Movie Studios Retail Telecommunications and Wireless.
Additionally growth in 2008 was attributable to increasing activity across a broad spectrum of emerging categories from CPG/Health & Beauty to Media Retail Electronics Leisure/Tourism and Financial Institutions.
“Cinema advertising spending continues to grow and advertisers are seeing real results as they increasingly find ways to include cinema as part of their overall media mix along with other sight sound and motion buys such as television ” says Kupiec. “In fact as a recent cinema advertising study conducted by Integrated Media Measurement showed combining television and cinema in an ad campaign more than doubled the consumer conversion rate as compared to television alone while doubling the lift and extending incremental reach all the while targeting key demographics including ad-avoiders. These are the results media agencies and their clients crave and cinema continues to be a growing powerful medium.”
Cinema Advertising Council www.cinemaadcouncil.org ,1046
UK Showcase Cinema De Lux Wins Digital Signage Award,2009-06-29,UK-based digital signage company Beaver Solutions has won the AV Award 2008 for Digital Signage Project of the Year. The award was given for the innovative deployment of digital signage throughout three multi-million pound Showcase Cinema De Lux venues. Showcase Cinemas approached Scala and Beaver Solutions to provide digital signage throughout their concept cinemas in Derby Bristol and Leicester with the aim to create a paperless cinema experience. The idea was to create a high quality immersive cinema experience with functional and efficient methods of running their signage. Digital signage is integral to the cinema buildings with spaces for the screens being prebuilt into the structure. More than a hundred Sanyo 42-inch LCD panels were installed by Beaver Solutions displaying content for the box office concessions stands and spillways throughout the cinema. The screens are mounted using Vogel brackets in a variety of landscape and portrait positions with the high definition RGB signal delivered to the screens using structured cabling through Scion Pro9000 transmitters and receivers.
With the Cinema De Lux concept Showcase creates enhanced recreational environments with luxury as a key feature. The digital signage fits in with the high quality surroundings and adds to the premier customer experience. With a digital signage solution movie posters trailers box office screens and menu boards are elegantly displayed and are easily updated. Traditionally printed signage would be used for the concessions stand menu boards and posters throughout the cinema with LED boards used to show movie times at the box office. The menu boards were not updated regularly and any new prices would be stuck over the top of old ones with labels. Movie posters would need to be unpacked put up and disposed of each week by hand by the cinema staff.
Movie posters now have more space for promotion without overwhelming the customer as they walk through the cinema. Details about a movie no longer have to fit on one sheet with the main image. The leading slide can catch the audience eye with the additional slides providing details of the movie. Menu boards are able to instantly react to any changes. Should a menu item go out-of-stock it can be removed from the menu. Similarly should stock be going out-of-date active promotion of that item can help move it quickly. The flexibility of digital signage allows Showcase to react when they need to to any unforeseeable events. ,1047
Cinemeccanica and Barco Sign Contract with Cinéville ,2009-06-29,Cinemeccanica and Barco have announced another digital cinema deployment deal in France. Both companies have signed a contract with Cinéville for the installation of thirty Barco 2K digital cinema projectors in five multiplexes. Located in the West of France Cinéville is a fully owned subsidiary of Soredic. For their digital conversion financed by Ymagis they turned to Barco Value Added Partner Cinemeccanica. This summer thirty Barco digital cinema projectors will be installed in Cinéville's theaters in Hénin-Beaumont Rennes Laval La Roche-sur-yon and Quimper. Yves Sutter General Director Cinéville says “We decided to partner with Cinemeccanica and Barco because of the excellent image quality both in 2D and 3D setups.” Cinemeccanica and Barco have been cooperating for a long time and signed a Value Added Partnership in 2007. Under the terms of this agreement Cinemeccanica promotes and supports Barco's 2K digital cinema projector range across southern Europe. “I am very proud that Cinéville has joined our customer list. Together with Barco we will make sure that their digital rollout fully meets their expectations both in terms of projector technology as well as customer service ” says Patrick Muller general director Cinemeccanica. Tim Sinnaeve sales director EMEA for Barco's digital cinema business adds “Closely following our deal with Cap Cinéma this contract confirms Cinemeccanica and Barco's leading role in France's digital conversion.” ,1048
Marmaduke Dailies linked between London and LA,2009-06-29,Cinesite has been awarded a major visual effects contract for the Twentieth Century Fox production Marmaduke based on the 1954 newspaper comic strip created and illustrated by Brad Anderson. The film is scheduled for release in 2012. Cinesite is also expanding its production department capacity by approximately 25 percent particularly in the 3D and character animation areas. The company will add personnel and equipment as well as increase square footage. Large areas of Cinesite's Soho offices which were originally a storage facility for the British Library are currently undergoing a major renovation. We are working on several exciting and challenging projects this year and in 2010 says Antony Hunt managing director of Cinesite. Marmaduke is another fantastic opportunity for us to work with Fox having recently worked with them on The Day the Earth Stood Still and Wolverine. Marmaduke director Tom Dey (Shanghai Noon Showtime and Failure to Launch) will develop this big-screen adaptation. The classic Marmaduke strip revolved around the adventures of a mischievous Great Dane who lives with the Winslow family. The big dog also appeared in several segments of the animated Heathcliff series in the 1980s as well as a in the Garfield and Friends show. Cinesite Visual Effects Supervisor Matt Johnson will oversee the work on Marmaduke. Johnson will initially be based in Vancouver for the shoot and then in Los Angeles. Marmaduke will utilize Cinesite's innovative Transatlantic Portal Service. This will be the second full production to use the system which creates a digital link between identically calibrated 2K playback suites in London and Los Angeles. This service was first used with great success on Disney's Bedtime Stories. The system also allows for simultaneous live viewing and dailies sessions between both sites and makes full use of the 24-hour day. Marmaduke is a great chance for us to show off our Transatlantic Portal; having daily direct access with the client will really help streamline the creative process Johnson says. We will also be able to combine our expertise from our experience on Underdog and Beverley Hills Chihuahua. This major award of work combined with the exciting visual effects work already begun at Cinesite including Clash of the Titans has driven Cinesite's physical expansion and refurbishment. Over the past couple of years we have developed our reputation as both a highly creative and technical visual effects company adds Hunt. We are currently refurbishing production areas as well as increasing capacity to allow space for both current productions and future productions. We are also working to enhance our creative environment. Cinesite is currently working on Harry Potter and the Deathly Hallows: Part 1 (Warner Bros.) Naked Beauty (Disney) Clash of the Titans (Warner Bros.) Prince of Persia: The Sands of Time (Disney) and Leap Year (Spyglass). Other recent productions include Moon (Liberty Films) The Prisoner (AMC/ITV) and Harry Potter and the Half-Blood Prince (Warner Bros.). Cinesite www.cinesite.com ,1049
Filmworkers Club Upgrades Two Facilities with Da Vinci Systems,2009-06-29,Chicago-based Filmworkers Club has upgraded two of its facilities with three da Vinci Splice post-production systems which enable the facilities' existing da Vinci 2K Plus systems to be used for non-linear in-context color grading. Installing two Splices at our Chicago facility and one at our Dallas facility has allowed our colorists to grade commercials in-context and in real time while also extending the life of our 2K Plus investments says Reid Brody vice president of Filmworkers Club. We no longer need to change reels to get to the right shot. Instead Splice allows us to assemble all scenes on a timeline and grade them in the order they will appear in the project. This means complete consistency between scenes and it also gives colorists more creative time so they can offer clients more choices of looks. Because Splice accesses digital images directly from SAN DAS or internal storage it eliminates the need to search rolls of film or to cue up video to find the right shot. The 2K-user interface synchronizes and controls Splice so that it can move instantly to any scene or rearrange shots on the timeline while also adding alternative shots. Built with the same Transformer II technology as the da Vinci Resolve digital mastering suite Splice shares the Resolve's basic conform and I/O features. Its session and operational compatibility with Resolve accelerates film television and commercial workflows. The Splice appliance is also available with object tracking and has the capacity to handle 4K files. Filmworkers' decision to connect the da Vinci Splice to their 2K systems is a significant benefit for both their colorists and clients says Jim MacKrell da Vinci's services marketing manager and the leader of the team that invented Splice. Splice reflects our commitment to expanding the capabilities of our expansive 2K installed base. Filmworkers' colorists are delighted with the time saving features which give them more time to be creative. Filmworkers' clients see their work in-context and now have more time in session to experiment creatively with different looks for their commercials. Da Vinci www.davsys.com ,1052
IFC Installs Spirit 4K Datacine and Bones System,2009-06-29,The IVC Digital Film Center in Los Angeles has expanded its 2K / 4K film scanning remastering and archival services with the new Spirit 4K DataCine and Bones system from Digital Film Technology of Germany. IVC has digital intermediate digital cinema and HD mastering facilities and has been providing the mainstream and independent film and commercial industry with services for more than 20 years. “Our new Spirit 4K DataCine and Bones system has allowed us to expand our services to the next level to meet our customer’s requirements ” says Revis Scott Call IVC vice president and general manager. “The Spirit’s high scanning speed multi-standard high resolution support Bones software integration and comprehensive feature set provides us with a data-centric approach that keeps us at the technological forefront of our industry.” The Spirit 4K DataCine at IVC utilizes the Bones post-production software to transfer film material into a digital file format for color grading and other digital intermediate processes. The Bones Data Transfer and Mover software modules manage the data transfer delivery and archiving. Features and modules can be easily added to Bones to meet IVC’s future post-production requirements. IVC is using the Spirit 4K DataCine and Bones post production software on a variety of applications including; remastering for Blu-Ray releases archival film transfers new production film transfer to digital data and more. DFT Digital Film Technology www.dft-film.com IVC Digital Film Center www.point360.com ,1054
Big Cinemas to Install Imax Theatre in Mumbai a First for India,2009-06-29,Imax Corporation and Big Cinemas a division of Adlabs Films a Reliance ADA Group company and India's largest entertainment conglomerate have announced an agreement to install Imax's new digital projection system in Big Cinemas' flagship Imax theatre in the heart of Mumbai. The installation is scheduled to be completed in July and will mark the first digital Imax location in India. The new Imax digital projection system will replace the Imax Dome system that is currently operating in the Big Cinemas location at Wadala Mumbai. The new technology upgrade is designed to enable Big Cinemas to take advantage of the growing slate of Hollywood releases in Imax and Imax 3D. Big Cinemas has constantly endeavored to expand our content offerings to render a world class movie going experience to our guests. Through the installation of Imax's digital projection system we will be able to offer our guests the world's most immersive movie experience and even more premium entertainment options and at a much lower operating cost says Tushar Dhingra COO Big Cinemas. We're proud to enter this partnership with Big Cinemas for installing our first digital projection system in Mumbai the heart of Bollywood. It is an important strategic step for us as we look to expand our presence in the region says Imax CEO Richard L. Gelfond. Big Cinemas has already done a fantastic job establishing the Imax brand in the country and we're confident that this new theatre will enable them to reach an even wider audience of Indian consumers in the future. Adlabs Films Limited www.adlabsfilms.com Big Cinemas www.adlabsfilms.com IMAX Corporation www.imax.com ,1055
Palace Cinemas XDC Reach Agreement to Deploy Digital Cinema in Central Europe,2009-06-29,Palace Cinemas the leading exhibitor in the Czech Republic Slovakia and Hungary and XDC the leading Pan-European digital cinema service company have agreed on the deployment of digital cinema systems in 170 of Palace Cinemas' screens in Central Europe. The agreement between Palace Cinemas and XDC includes the roll out of DCI-compliant projection systems co-financed by the Virtual Print Fee model. Rollout is scheduled to begin in the second half of the year. V.J Maury chief executive officer of Palace Cinemas says At Palace Cinemas we are committed to creating the very best entertainment destination so our customers can have a great night out at the movies. With the conversion to digital we will be able to provide our audience a full line-up of movies shown perfectly in digital on the big screen every single time in every language dubbed or subtitled in 2D or 3D. We are very pleased that the studios have committed to this new technology in our markets. It will also mean more independent movies live concerts sports events and interactive content. There is terrific potential in this new digital environment. It certainly is a great time to be in the exhibition business. XDC is a partner who shares our vision. Serge Plasch XDC's chief executive officer says It's for XDC a great honor to announce our third major VPF deal in Europe. Palace Cinemas is the most dynamic exhibitor in Central Europe. This agreement is the result of the excellent relationship that we have built with Palace Cinemas' visionary management team over many months as well as the successful test bed with 12 systems. Under the terms of the agreement XDC will exclusively install DCI-compliant digital projection systems and XDC's CineStore Solo G3 D-Cinema servers. XDC will also implement a fully integrated and networked solution in each of the 20 complexes thanks to its advanced Theatre Management System and Central Library the XDC's CineStore Plaza. XDC International www.xdcinema.com Palace Cinemas www.palacecinemas.net ,1059
Panavision and Louma Introduce new Camera Movement System,2009-06-29,Panavision Remote Systems and Loumasystems have introduced the Louma 2 a new-generation camera movement system built on an open-architecture platform to the U.S. The new system expands Louma's telescopic crane technology with the introduction of an open-architecture programmable software platform ShotAssist that enables cinematographers to plan intricate multi-axis shots and execute them with less rehearsal and fewer takes than any other camera system. Master/slave coordination between any axis of the crane and remote head is now possible. Today's technologically and visually sophisticated audiences are pushing directors and cinematographers to be ever more creative in developing eye-arresting shots says Jean-Marie Lavalou Academy Award-winning co-founder of Loumasystems. We designed the Louma2 to meet those demands by creating an open-architecture system so flexible that virtually any shot imaginable is possible and any technology innovation can be incorporated. While some new capabilities have been announced other innovations have yet to be discovered. The crews themselves will develop new tricks and applications says Richard Amadril vice president and general manager of Panavision Remote Systems. Among its new features the system has a newly developed arm allowing over 24 feet of telescopic travel. Two- or three-axis remote head and leveling gear can be switched easily from overslung to underslung and back. The ShotAssist software will handle pan compensation (e.g. backpan) and can easily allow for compensation for tilt or telescope. Pan tilt and roll limits are available at the touch of a button with adjustable ramps to aid framing. The unit comes with custom trollies and an operator's cart. It can be ready to shoot in less than 60 minutes. ,1060
SmartJog Signs Agreement with Europalaces,2009-06-30,SmartJog has announced that French theatre chain Europalaces the owner of Gaumont and Pathe cinemas has signed an agreement for the purchase and deployment of its high capacity SmartJog Digital Cinema Central Library Servers. The first phase of deployment was recently completed to 33 sites in France with planned Phase 2 to start shortly. While SmartJog has been deploying its libraries since last year to theatres in France Europalaces is the largest chain to commit to a substantial rollout in Europe. Over 65 theatres and 400 digital screens are currently connected to the SmartJog delivery platform. With this major deployment into Europalaces theatres in France Switzerland and the Netherlands the TDF Pan-European Digital Cinema Network a secure satellite and fiber delivery service operated by TDF subsidiaries SmartJog and Media Broadcast will grow to more than 200 theatres by the end of 2009. SmartJog says its Digital Cinema Central Library Server is the only hardware on the market capable of storing very large amounts of data and receiving Digital Cinema Packages via satellite and fiber. This agreement will enable Europalaces to receive all its digital content via SmartJog. The theatres that were part of the first phase of deployment are already electronically receiving trailers and pre-show material from Mediavision the leading cinema advertising company in France. ,1062
Arriflex Introduces ArriLaser 2 Film Recorder,2009-07-13,Arriflex has introduced the ArriLaser 2 what the company is calling the next generation of a film recorder that has established itself as an integral component of digital intermediates workflows all over the world. Supporting a 16-bit image path and recording speeds that double those of previous models the ArriLaser 2 will transform the DI capabilities of any facility where it is installed. In an industry defined by deadlines recording speeds of 0.9 sec./frame in 2K and 1.5 sec./frame in 4K allow the ArriLaser 2 to meet the uncompromising needs of film-out clients by vastly improving turnaround times. Utilizing a Linux-based software package the ArriLaser 2 features a newly designed GUI that gives a constant overview of recording jobs in progress. The new software offers unprecedented flexibility of operation and speeds up daily operations considerably. The company says the main advantage of the new software is its ability to control and operate multiple lasers with the ease of just one application. The new client-server architecture permits all ArriLaser software applications to be accessed from anywhere in the network. Arriflex www.arri.com ,1079
Ice Age 3: Dawn of the Dinosaurs Debuts at Cinema Expo,2009-07-13,One of the highlights of last month’s Cinema Expo in Amsterdam was the 3D premiere of Ice Age 3: Dawn of the Dinosaurs. The screening was shown on a Barco twin projector setup with Dolby 3D for large screens. The Dolby 3D large screen solution combined with Barco's digital cinema twin-projector allows exhibitors to project 3D onto standard non-silver screens ranging from 12.5 to 21 meters surpassing the previous size limit of 12 meters. The RAI auditorium where the movie premiered has a 16.5-meter wide screen. “With the growing number of 3D releases and increasing consumer interest in 3D movies it is even more important for exhibitors to be able to show 3D movies on their largest screens says Page Haun senior director of cinema marketing Dolby Laboratories. “The new Dolby 3D for large screens in combination with Barco's digital cinema projectors provides a premium viewing experience for everyone in the audience. We know a lot of work has gone into making Ice Age: Dawn of the Dinosaurs a compelling 3D experience and Dolby is proud to [have been] part of the global premiere at Cinema Expo.” “Ice Age movies have attracted millions of fans around the world and we expect no less of the third one ” says Alain Solomon vice president of Barco's digital cinema business. “Thanks to the new 3D for large screens technology by Dolby and Barco Ice Age 3 premiered with superb brightness and color engaging movie goers in the adventures of Manny and his friends like never before.” Wim Buyens vice president business development of Barco's digital cinema business unit adds “3D opens a whole new world of opportunities in digital cinema. Building on the field-proven DLP Cinema technology from Texas Instruments we are pleased to offer moviegoers the highest resolution and brightest images possible ensuring a superb 3D experience.” Cinema Expo International is the largest and longest running event dedicated to the European cinema exhibition and distribution communities. Now running its 18th edition the trade show attracts over 1 300 motion picture industry professionals from across Europe every year. ,1080
Submissions Sought for 2010 Big Sky Documentary Film Festival,2009-07-13,The Big Sky Documentary Film Festival the premier venue for nonfiction film in the American West is seeking submissions for its sixth annual event. The deadline is September 4. From February 12-21 the festival will screen 100 films including world and U.S. premieres classics rare and experimental works on Montana's largest screen at the historic Wilma Theater in downtown Missoula Montana. In addition to ten days of screenings the event will feature many public and VIP events including panel discussions galas receptions and networking round-tables. The competitive event is open to non-fiction films and videos of all genres subject matter lengths and production dates. Awards and cash prizes will be given for Best Documentary Feature (over 50 minutes) Best Documentary Short (15-50 minutes) Best Mini-Doc (under 15 minutes) and best documentary about the American West (the Big Sky Award). More information is available on the festival’s website. Big Sky Documentary Film Festival www.bigskyfilmfest.org ,1082
Michael Jackson Memorial Seen Live at 47 Cinedigm-Certified Theatres,2009-07-13, Cinedigm Digital Cinema has announced that thousands of fans turned out to theatres around the country to view the July 7th Michael Jackson Memorial Service via a live feed direct from the Staples Center. A total of 47 Cinedigm-certified theatres carried the broadcast with ten of those coming online within hours of its commencement due to the last minute nature of the event.
“Without the permission of AEG Network Live and the Jackson family we could not have brought this historic event to fans to share in a supportive and comforting atmosphere almost as if they were in the Staples Center. We thank them for allowing us to provide this beautiful tribute in a way we hope properly honored the King of Pop ” says Bud Mayo Cinedigm’s chairman and CEO. “I am especially proud of both the tech and entertainment teams at Cinedigm as well as our exhibitor partners for making this possible in literally 24 hours.”
“The beauty of digital cinema is that it allows for creative use like this ” says Jonathan Dern president of Cinedigm’s Entertainment Group. “Certainly events like today’s are few and far between but the future of theatres as a venue for bringing other live and unique events is bright. Cinedigm looks forward to bringing more of them to and increasing number of locations around the country through our CineLive network.”
Fans in theatres offering the live broadcast all over the country embraced the sense of community created in each location and were seen clapping singing along and dancing in the aisles as they celebrated Jackson and his life’s work. A woman attending a theatre in Manhattan was overheard saying she had left work early because she “wanted to come to this theatre to be with other fans to really experience the event.”
Another woman stated “I grew up with Michael Jackson and felt like I knew him. Being here and seeing [his memorial] live on the big screen makes this special event even more meaningful.”
A third fan said he was floored by the incredible image quality saying “It makes me feel like I’m at the Staples Center right now.”
Tom Stephenson CEO of Rave Motion Pictures one of the theatre chains that carried the event says “we were thrilled that Cinedigm was able to react quickly to the opportunity for us to bring this to Rave theatres. Attendance was strong and the audience was very appreciative. Some audience members indicated that it made them feel like they were right in the Staples Center.”
Cinedigm Digital Cinema www.Cinedigm.com ,1084
Da Vinci Resolve now has added Support for Red and 3D Files,2009-07-13,Da Vinci Systems has announced that its Resolve v.6.2 software for R-series color grading systems for the first time enables Resolve to color grade native digital motion picture files — including debayered Red RAW files — and to grade between two remote systems. Available worldwide new features in Resolve 6.2 also include enhanced support for 3D color grading projects. The company says that Resolve 6.2 dramatically accelerates workflows improves performance and shortens project completion times for commercials and motion pictures shot with Red cameras by eliminating the Red-to-DPX file conversion process and enabling colorists to grade the full dynamic range of Red files. Before releasing Resolve 6.2 da Vinci Systems tested the new software at post-production facilities in Singapore and in Stockholm Sweden. Red One jobs are now a 'no brainer' with da Vinci's Red solution says Charlie Ellis senior colorist and post-production manager for Blackmagic Design in Singapore. Da Vinci's new software helps us to forget how complex Red can sometimes be and instead lets us focus on creative grading rather than fixing Red conform issues. Ellis used the facility's Resolve R-350 to re-conform two Red projects. For the first project 80 GB of Red raw files were added to the media pool an offline CMX EDL was added to the timeline the spots were conformed exactly and Ellis was able to begin grading instantly. When he did the original project without Resolve 6.2 Ellis was forced to transcode 70 shots overnight on three Mac systems using RedRushes. With Resolve 6.2 there was no need for Red raw transcoding to DPX and the .R3D files were debayered in real time without rendering the footage prior to grading. In Sweden Carl Skaff head of telecine at Stockholm Postproduction ran v.6.2 software on a Resolve RT with the latest music video directed by his brother Anthony Skaff. Anthony Skaff had expected to spend two days grading using Final Cut Color. When he learned StoPP had implemented Red support he moved the project to the facility where it ran glitch-free and required only five hours of grading time. Resolve 6.2 also enables two Resolve systems to be synchronized via an Internet connection so that color grading changes made on one colorist's Resolve are immediately applied on another Resolve elsewhere in the world. Therefore a grading session being conducted in Los Angeles can be seen in a Resolve suite in Tokyo says Jim MacKrell Da Vinci's services marketing manager. ,1087
Dolby Taking Orders for New Digital Screen Server,2009-07-13,Dolby Laboratories has announced that its newest cinema server the Dolby Screen Server DSS200 is available for orders. The DSS200 is an all-in-one platform to store decode and deliver pristine movies to the digital cinema projector. Based on Dolby’s existing FIPS-certified media block and DCI-compliant server the DSS200 offers improved storage serviceability and interoperability. A storage subsystem moves feature content around the network effortlessly. Flexible serial automation and closed captions support automation and access needs and the ability to perform software updates remotely makes updates simple. Integrated Dolby Theatre Management System software version 4.1 provides a complete easy-to-use interface for building scheduling and monitoring shows locally or remotely and open Web services allow third-party integrators complete control. “The new DSS200 provides high performance and is a comprehensive flexible product to accommodate the evolving digital cinema environment ” says Page Haun senior director of cinema marketing Dolby Laboratories. “Megaplex has found the new DSS200 extremely easy to use with rock-solid hardware and powerful management tools that ensure Dolby will continue to have the best server on the market ” says Mike Renlund digital cinema specialist Megaplex Theatres. “The simplified design of the DSS200 allows for easy replacement of drives fans and other components. Combined with the latest Dolby system 4.1 software this makes the DSS200 the most robust and usable server I have ever seen.” Dolby Laboratories www.dolby.com ,1089
Paul Newman Retrospective set for August 13 in Los Angeles,2009-07-13,The Downtown Film Festival-Los Angeles and Brookfield Properties are pleased to announce a Paul Newman Film Retrospective on the evening of August 13th starting at 6:00 pm at 7+FIG located in the heart of Downtown L.A. The tribute will include free-to-the-public screenings of two of Newman's most critically acclaimed films Butch Cassidy and the Sundance Kid and Hud as well as special events that will take place throughout the evening. Cloris Leachman winner of nine Emmy Awards and an Oscar (Best Supporting Actress 1972 The Last Picture Show) will make an appearance at the screening of Butch Cassidy and the Sundance Kid in support of her role as Agnes in the film. Directed by George Roy Hill the movie won several awards including an Oscar for Best Screenplay and a BAFTA for Best Picture and went on to become the highest-grossing film of the year. Hud was directed by Martin Ritt and looks at the life of Hud Bannon (Paul Newman) an arrogant self-centered cowboy who does not have a care in the world. His nephew Lonnie (Brandon De Wilde) lives with Hud and the duo starts to grow closer much to the chagrin of Hud's father Homer (Melvyn Douglas). The film observes the relationships between the family members and the consequences that result from it. It went onto win several awards including an Oscar for Cinematography and an Oscar nomination for Newman's performance. In a film career spanning five decades Newman had many celebrated roles but many critics consider his performance in Hud his finest. Roger Mayer the festival's programming director calls Butch Cassidy and the Sundance Kid “a tremendously successful film that rewrote Westerns embodying what Bonnie and Clyde did to gangster films by mixing at the time a very modern technique with a classic genre. Hud was unique in that the main character Newman was the bad guy. Newman set the tone for the new anti-hero and really showed that he had range solidifying him as a powerful hero as well as embodiment of disenfranchised youth. The movie was about the death of the West defining a new era of encroachment of newer business practices like the onset of greed and capitalism. The outdoor film screenings will be preceded by an introduction by a representative from The Hole in the Wall Camp and the Painted Turtle. Newman founded The Hole in the Wall Camp in 1988 to support seriously ill children and give them an empowering experience away from home. Named after the gang from Butch Cassidy and the Sundance Kid the camp serves approximately 3 000 children year-round and has expanded nation-wide to spawn similar programs such as The Painted Turtle with the camp's services being free of charge. Downtown Film Festival-Los Angeles www.dffla.com
Singapore’s MDA International Film Fund Appoints Distribution Workshop Sales Agent
