Screen actors convey emotion in several ways: their voices, their eyes and the subtle color changes of their facial skin. But what if – as in the case of Gary Oldman’s Oscar-winning performance in Darkest Hour – much of their face is covered in silicone? That was one of the key questions Peter Doyle, supervising colorist at Technicolor, addressed when he collaborated on the film’s palette.
The Big Picture
Digital Cinema Report recently teamed up with global cinema software leader Arts Alliance Media to ask exhibitors around the world how they see their businesses evolving over the next five years. We especially wanted to know their thoughts on technology, both what they’re using today and what they plan to use in the future. I sat down with John Aalbers, CEO of AAM to discuss the survey results.
This past July, Ray Nutt succeeded John Rubey at Fathom Events becoming the company’s second CEO in its four-year history. While many things at Fathom remain the same, there have already been some changes under Nutt. Among them, the fact that the company has started releasing its revenue figures on a regular basis. Not surprisingly, what those numbers show is that event cinema is big business and that, as the dominant company in the market, Fathom is a force to be reckoned with.
For a company that’s relatively new to the professional cinema business, Samsung has had an impressive year and there are no signs it’s slowing down. In March at CinemaCon 2017 in Las Vegas, and working with GDC Technology, the company created a major stir by unveiling its prototype LED Cinema Screen. Two months later it finalized its $8 billion acquisition of audio giant Harman International, including, importantly here, the JBL cinema group. Following that, and in short order, the company received DCI-compliance certification for its LED screen technology and installed its first commercial cinema screen in South Korea. A few weeks ago, Samsung installed a second LED screen in the same South Korean theatre. In just seven months Samsung has seriously disrupted the professional cinema market.
What are exhibitors’ technology needs and concerns today? And how might they change in the coming years? To answer these questions, global cinema software leader Arts Alliance Media and Digital Cinema Report are teaming up to find out what you think.
Netflix this week committed to streaming its movies in both Dolby Atmos and Dolby Vision high-dynamic range formats. It is the first global on-demand service to commit to combining both formats. Okja, the critically praised Netflix Original Film, is the first film available in both formats. Additional Dolby-supported titles are coming soon, and the catalog will continue to grow. Okja will be released to select movie theatres this week as well. Netflix has raised the stakes again.
Designing a precise color workflow during pre-production can save motion picture projects time and money. The larger and more complex the project, the more the potential for savings. Digital imaging technician Francesco Giardello (Pan, Game of Thrones, Ben-Hur, Thor: The Dark World) can accurately be described as a pioneer in the use of the Academy Color Encoding System on-set. He recently designed a set-to-post color workflow using ACES for the movie Life, directed by Daniel Espinosa and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. This space thriller from Sony tells the story of the crew aboard the International Space Station and what happens when they encounter extra-terrestrial life in the form of an organism they name Calvin. On Life, Giardello worked closely with cinematographer Seamus McGarvey ASC BSC. The main cameras used were Arri Alexa 65s although, according to Giardello, several other cameras were also utilized. I spoke with Giardello about the color workflow used on Lif
There’s a reason why the classic Warner Bros. film Casablanca has remained one of the world’s favorite movies for more than seventy years. There’s also a reason why, for more than a century, people the world over have loved countless other Hollywood films: movies are magic. And, there’s a reason – more than one in fact – why advertising in cinemas is so effective. Movies connect with us in very emotional ways and leave memories that can last a lifetime. Which was, in essence, the case that Screenvision Media made in its Upfront presentation last week: content in a darkened theatre on the big screen creates memorable impressions.
CinemaCon 2017 featured a dizzying array of technology possibilities that, depending on who you talked to, were exciting, intimidating or overwhelming. The trade show, held at Caesar’s Palace in Las Vegas, is the National Association of Theatre Owners’ annual gathering of exhibitors from around the world. More than one attendee labeled the show Digital Cinema 2.0. The digital cinema transition was not the end of anything; it was very much the beginning of something even bigger. That was because this year’s CinemaCon made it perfectly clear that the days of the basic 2K-projector, server and vanilla theatre management software package are numbered. To remain competitive, perhaps even simply to stay in business, exhibitors must learn to fully embrace new technology.
Twenty-eight independent theaters in cities across the country will participate in the fourth annual National Evening of Science on Screen. The event will feature a short introductory video, followed by a unique film and speaker presentation at each venue as part of its Science on Screen program. For example, the Martha’s Vineyard Film Center will screen Robot & Frank with an introduction and post screening discussion with Michael Chuah, PhD Candidate, Biomimetic Robotics Lab Mechanical Engineering, Massachusetts Institute of Technology