Sixteen Brazilian Exhibitors Negotiating En Masse with Hollywood

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Wed, 03/28/2012 - 20:00 -- Nick Dager

Sixteen Brazilian exhibition companies owning around 40 percent of all theatres in the country are teaming up to negotiate a mass transition to digital projectors together with Hollywood studios and distributors reported Folha newspaper. The move is a consequence of the new bill the Brazilian Senate passed last week which pushes for the modernization of film theaters across the country through tax exceptions and enables the Program Cinema Close to You a move to promote the building of film theaters in small towns with up to 100 000 inhabitants. Reformulated last September the original bill had been announced in 2010 by former President Lula da Silva and aimed to support the building of 600 film venues as a way to reduce concentration in large urban centers. Today half the country’s cinemas are located in state capitals. The official aim is to sign agreements with state and local governments to support the creation of government-owned theaters managed by private hands. Two different lines of credit will be enabled which together will distribute around R$800 million (US $440 million). Together with other initiatives by Cinema Close to You like credit and finance lines the new tax regime will contribute to an expanding number of Brazilian exhibition facilities and the digitalization of nearly 1850 cinemas across the country which now operate without the possibility of digital projection ” said Manoel Rangel president of the Brazilan Film Agency (ANCINE) on the institution’s website. Acoording to numbers by Filme B today there are 2 377 film theaters in Brazil out of which only 514 (21 percent) are digital. The program is a major push forward for replacing 35mm projectors with digital equipment which would drop their costs by 30 percent thanks to federal tax exceptions. Acquisition of equipment and materials for the creation or modernization of film theaters will be tax-free regardless if they go through the internal market or the import business. Faced with that agenda local exhibition companies are associating to negotiate the transition with Hollywood studios and distributors and expect to finance the process sharing costs through a virtual print fee mechanism combining it with State funds. VPF redistributes the savings realized by studios when distributing digital material instead of film prints. Once the new legislation receives the Presidential go-ahead around 1 000 theaters should be digitalized in the next two years. According to numbers by ANCINE Brazil is today the largest Latin American film market in terms of box office revenue with 143 million tickets sold in 2011 and a gross revenue of R$1 44 billion  (US $770 million) an industry record. Last year’s numbers for local films –almost R$ 18 million tickets and over R$163 million (US $90 million)– placed 2011 among the top 3 of the last 10 years in industry growth. ,3176
CENIC Honors High-Resolution Streaming Demonstration,2012-03-29,An international collaboration to stream live ultra-high-definition 60 frame per second microscopic video at the Tokyo International Film Festival has been honored by the Corporation for Education Network Initiatives in California (CENIC) as recipient of the 2012 Innovations in Networking Awards for Experimental/Developmental Applications. Live digital cinema streaming and the sharing of high-resolution scientific imaging have emerged as killer apps for advanced networks and during the Tokyo International Film Festival's CineGrid session last October they were combined with microscopy at 4K/60P for the first time as 4K microscopic images of living microorganisms at 60 frames per second were captured and streamed live from the University of Southern California School of Cinematic Arts across the Pacific Ocean to an audience in Tokyo. Network connectivity provided by USC CENIC AboveNet CineGrid CISCO Cwave Pacific Wave and Japan's JGN-X formed the 10 Gigabit trans-Pacific path that enabled this event. USC Cinematic Arts' Richard Weinberg project leader and international digital media research consortium CineGrid had previously demonstrated simultaneous 4k microscopic image capture and live HD streaming from USC to UCSD in San Diego and to the SIGGRAPH Asia conference in Yokohama Japan in 2009. With the addition of Nippon Telegraph and Telephone Network Innovation Laboratory members and JPEG2000 codec technology to the project the demonstration in October brought a dramatic increase in the resolution of the live image transmission increasing the resolution from HD to 4K/60fps achieving a fourfold increase in number of pixels and a doubling of the frame rate. Members of the audience in Tokyo witnessed the benefit of seeing live aquatic microorganisms invisible to the naked eye at the highest resolution and frame rates yet achieved at that distance with less than a second's delay from Los Angeles. Four Innovations on Networking Awards are given annually by CENIC to highlight exemplary innovations that leverage ultra high-bandwidth networking particularly where those innovations have the potential to revolutionize the ways in which instruction and research are conducted or where they further the deployment of broadband in underserved areas. CENIC ,3177
Claco Installs Christie 4K Projection in Megaplex Theatres,2012-03-29, Claco Equipment and Service is installing 4K DLP Cinema projection at a new screen at the Megaplex Theatres at Jordan Commons which debuts March 15 with VIP seating table service and full reclining chairs as part of Megaplex’s transition to complete digital projection throughout its chain.   “We know that moving to digital projection provides our guests with the best image quality and helps us keep filling the seats for blockbuster titles as studios release them. After looking at the available choices and with the advice of Claco we decided that Christie had the best product both technically and in terms of energy savings service and support ” says Blake Andersen senior vice president and general manager of Megaplex Theatres. “These new projectors let us offer more options to our advertisers and partners as well.” Eric Butterworth sales manager at Claco says “Christie was easily our recommended choice for Megaplex. The combination of Christie Digital Cinema projectors Christie’s excellent customer service and 24-hour tech support and their Christie Digital Xenolite Lamp technology were just some of the reasons why we went with Christie.” “CDXL lamps give us more options in terms of the brightness delivered on the screen to achieve best image quality. This flexibility means that I could go with a lower lamp size and still maintain the necessary brightness that the customer required which provided greater savings ” says Butterworth. “For example rather than be forced to run a 6 000 watt lamp in a non-Christie projector I opted to install a Christie DCP with a 4 500 watt lamp delivering the same or better brightness with the attendant cost savings.” “When our customers make the transition to digital projection they’re looking for the terrific image quality and technical capabilities that digital offers ” says Craig Sholder Christie’s vice president Entertainment Solutions. “We work with local partners to develop a solution that meets the customer’s unique needs and provide ongoing service and support to make the transition smooth and rewarding.”   ,3178
Digital In-Lobby Advertising Effective Study Says,2012-03-29,A TrailerVision and Video Wall Advertising Research Report conducted by the Worldwide Motion Picture Group of Ipsos MediaCT shows the positive influence digital media had on consumers during their visit to the cinema. Results were able to confirm recall rates and intentions to see upcoming movies: Nearly 60 percent of patrons recalled viewing TrailerVision during their time in the lobby. The study says the impact was highest among teens aged 12-16 years (65 percent). According to the study digital video advertising is perceived to be the most influential form of in-lobby advertising. VideoWall (54 percent) and TrailerVision (51 percent) are more influential than traditional movie posters (33 percent) and standees (28 percent). Digital formats had a greater impact in making respondents 'want to see the movie ' the study says. Time spent viewing TrailerVision was highest among younger males and older females. Nearly one quarter of all respondents mentioned viewing the displays for a few minutes or longer with most respondents spending a little less than a minute viewing the content. According to the study other TrailerVision results include: 58 percent strongly agree that it 'is a very modern/innovative way to advertise' 50 percent think the 'graphics/special effects look cool' 47 percent say it 'is a fun way to find out about new movies' (peaking at 55 percent among those under 25 years old). Consumers realize that TrailerVision both video walls and LCD poster displays are the most modern and innovative way to learn about upcoming movie releases says Michael Holmes chief marketing officer Cinema Scene Overland Park Kansas. The research demonstrates advertisers are realizing impressive results via campaigns utilizing the TrailerVision digital media network.

This research demonstrates that digital formats such as TrailerVision could be a vital part of the media campaign says Keely Gillman vice president Worldwide Motion Picture Group. The Worldwide Motion Picture Group of Ipsos MediaCT conducted the research. Fieldwork took place on a Friday Saturday and Sunday last December 2-4. Methodology approaches included in-situation observation as well as face-to-face intercepts. The research achieved more than 200 respondents per market focusing on parents with children in their party; teens aged 12-16; and general moviegoers. Four test markets and one control theatre were used in this study. ,3179
Colorfront Updates On-Set Dailies System,2012-03-29,Colorfront has released the Winter 2012 version of its On-Set Dailies system introducing real-time 4K display of dailies for motion picture productions using the new generation of high-end cameras flooding the digital cinematography market. The 2012 Winter release enables cinematographers to dispense with traditional HD monitoring and review and allows them to work with 3K 4K and 5K Raw material in post-ready 4K quality to realize their creative vision – either on-set near-set or at their favorite facility – while also providing final post-quality dailies instantly to the production. As feature-film makers adopt higher frame-rate capture (on motion pictures such as Avatar sequels and The Hobbit) On-Set Dailies also delivers Raw DPX and 16-bit TIFF file format support for 2D and 3D stereoscopic projects shooting at 48/60fps. Colorfront On-Set Dailies delivers an all-embracing approach to digital dailies workflow by integrating production-proven tools for dailies work – including playback and sync QC color grading audio and metadata management – with state-of-the-art color and image science and the delivery of simultaneous faster-than-real time deliverables in all common file formats. The On-Set Dailies Winter 2012 release includes file format support for the new generation of digital cinematography cameras including Sony’s F65Raw SRFile (SStP) and XDCam EX Red Epic R3D Alexa Studio 4K Anamorphic Canon C300 Panasonic P2 and GoPro. Now Colorfront On-Set dailies can be integrated with 4K projectors – such as the Sony SXRD the new 4K DLP projectors from Christie Barco and NEC – and any of the 4K monitors being released to provide a full 4K display workflow from the set and into post production. “There is now no reason why a DP shooting with Red Epic Arri Alexa or Sony F65 for a 4K digital cinema release should have to manage with an HD image ” says Aron Jaszberenyi managing director of Colorfront. “New generation digital cinema cameras feature 3K/4K/5K/8K sensors and capture way beyond HD and also output Raw sensor data for external processing. Combining On-Set Dailies in a 4K workflow with 4K monitors or DLP projectors gives cinematographers greater accuracy and confidence as they are shooting. They can see their rushes on-set on the day of the shoot in the best DI finishing quality on a 4K projector or monitor. Also as motion pictures are now going beyond 24fps for shooting On-Set Dailies offers the required performance for high frame-rate stereo playback including 48/60fps.” Colorfront ,3180
Third Output Film Starts Shooting in April,2012-03-29,Content has announced that the third installment of the Outpost franchise will go into production in April.  The film is set to shoot in Scotland and Yorkshire. Kieran Parker will direct the script penned by Rae Brunton. Cast includes Bryan Larkin (Battleground) as the lead Russian Dolokhov and James “The Colossus” Thompson – Ultimate Combat World Heavy Weight Champion as The Berserker.  More cast will be announced soon. Produced by Arabella Page Croft and Kieran Parker for Black Camel Pictures and executive produced by Nigel Thomas from Matador Pictures and Jamie Carmichael from Content the film is backed by Matador Pictures. Creative Scotland and the South West Scotland Screen Commission have supported the project in development. Croft says “Kieran and Rae were challenged to create an origins story for the Outpost franchise and I'm delighted they have delivered a terrific script with an action packed storyline and some fantastic new baddies.  With production imminent and our lead cast in place we are all set for the goriest and most violent fight fest seen in our Outpost movies yet.” Carmichael says “There aren't many British based action horror franchises that have spawned three films and this time we see Nazi Zombies cage fighting with Russian Special Forces.  It goes without saying that we very excited to be continuing our business with Kieran Arabella and Nigel.” ,3182
Russian Staging of Rossini’s Cinderella Breaks New Ground,2012-03-29, Under the guidance of artistic director Victor Gerasimenko a new production of Rossini’s Cinderella at the New Opera Theatre in Moscow breaks new ground for the staging of classical opera in Russia. The production uses three video projectors firing onto a specially produced backdrop with the three screens being positioned at angles to each other. Dataton’s WatchOut system is used to blend the three images seamlessly together so that the backdrop appears to be a single visual entity when required by the production with the content of all three projectors being delivered in perfect synchronization. The audience in turns sees a royal palace replete with multiple halls a fantastic garden containing freakish plants unusual pavilions and other magical landscapes…all without a single piece of physical backdrop being moved.
  Masha Yourieva speaking on behalf of says “Victor Gerasimenko is fascinated by computer technology and saw in Cinderella the kind of fairytale that would really benefit from having the kind of quick and dramatic changes of scenography that only computer animation can deliver. So we supplied four WatchOut licences with responsible for integrating the video into the overall production. Each projector has its own WatchOut -equipped PC delivering content while a fourth PC acts as the master controller.”
  “The particular advantages of WatchOut are that it does not impose any restriction on the size of the image so the design team for ‘Cinderella’ led by Ekaterina Volkova and the animation designer Eric Gromilov could really let their imagination run wild. Everyone involved put a huge amount of work into preparing the show and programmers used WatchOut here as well – using it as a content-management system to sync the video playback with the music and production script.”
Fredrik Svahnberg marketing and communications manager at Dataton says “The opera world is sometimes perceived as being rather conservative but with this production of Cinderella we have shown that our technologies can really enhance even the most traditional of musical scores. Thanks to WatchOut performers can move from conventional ‘scenic’ space into a world that is more akin to virtual reality – bringing the production to spectacular new life and providing an unforgettable experience for the audience.” After seeing the première of Cinderella in October this year the renowned Moscow art critic Lejla Guchmazova wrote: “Huge physical scenery and the enormous work needed to manoeuvre it are no longer necessary. Computer animation is bringing about a metamorphosis in the world of theatre that is truly fascinating.” 
Gerasimenko says “We live in a technological century in which the virtual world exists in parallel with the real. It’s impossible to stand still – you have to try to develop and embrace new things. A fairytale world should vary instantly and with the application of computer animation this is easy to achieve. The result we hope is a production of constant wonder and transformation.” ,3184
Emerging Pictures Presents Romeo and Juliet,2012-03-29,As part of its Ballet in Cinema series Emerging Pictures presented London's Royal Ballet of Sergey Prokofiev's Romeo and Juliet choreographed by Kenneth MacMillan on March 22nd. The live performance was seen simultaneously in nearly 150 of Emerging's network of 300 theaters; the other theaters in the network showed the performance captured live in the weeks following the live performance. Dancing the title roles were internationally renowned ballerina Lauren Cuthbertson and Federico Bonelli with music performed by the Orchestra of the Royal Opera House conducted by Pavel Sorokin. Prokofiev's score for Romeo and Juliet was completed in 1936 and originally performed with choreography by fellow Russian Ivo Vana-Psota. In 1962 Kenneth MacMillan was asked to choreograph it for The Royal Ballet.  Now widely considered the definitive version of the ballet MacMillan produced one of his most famous and acclaimed works.  His use of naturalistic acting and gesture — the explicit expression of adolescent passion between the two young lovers — was a startling innovation at the time.  In this production Nicholas Georgiadis's earthy Renaissance designs with some of the original details recently restored are the perfect backdrop to Shakespeare's tale of two star-crossed lovers. ,3185
The Foundry Releases Nuke and Nukex 6.3v7,2012-03-29,The Foundry has released the latest update of its industry standard compositing systems Nuke and Nukex 6.3v7. This release concentrates on making the movement of assets between Nuke and Nukex and other software packages as painless as possible.   Nuke and Nukex 6.3v7 offer a number of notable improvements for users working with the Foundry’s other software applications. Additionally the release introduces smoother workflows in and out of widely used third party products including Adobe Photoshop Silhouette and Pixar’s RenderMan. Layered PSD support has been significantly enhanced in Nuke 6.3v7 allowing users to bring Adobe Photoshop layered PSDs directly into Nuke and Nukex. The update means facilities can now access layers in up to 16bit PSD files with automatic layer/node-graph conversion using metadata. The Nuke-Mari bridge has been improved by mirroring Mari’s UDIM functionality in Nuke to support multiple texture patches per model. Specifically in Nukex the RenderMan integration has been extended to provide users with greater control and the ability to inject and manipulate RIB files and statements. The Foundry has implemented industry standard color management through the integration of new OpenColorIO developed at Sony Pictures Imageworks. The introduction of OCIO to Nuke and Nukex means that color management is now unified across all of The Foundry’s software offerings so users will see the same color in NUKE as they do in Mari Hiero and Katana. The OCIO standard is also being adopted by other software applications including Silhouette.   Nuke Product Manager says Our clients are all unique.  We want Nuke and Nukex to be flexible and open enough to fit perfectly into any pipeline. We know our clients use a diverse range of tools to get the job done and want to make Nuke as compatible as possible. This release is all about improving the workflow between the different software applications our clients want to use. The introduction of the OCIO standard across all our products is a big step towards improving colour consistency across our clients’ workflows.” Nuke and Nukex are available on Mac Linux and Windows and priced at $4900 £2950 €3525 and $8000 £4800 €5750 respectively. Prices quoted include one year of maintenance. Clients with up to date maintenance can access all Nuke and Nukex upgrades free of charge. To learn more about Nuke and Nukex: