The not-for-profit independent trade organization Cinema Technology Community has announced ambitious plans to support the cinema industry during 2020 through knowledge-sharing and education initiatives across a broad range of issues.
Ymagis Group today reported its consolidated financial results for the fourth quarter and for the full year 2019. The Group’s revenue in the fourth quarter confirms the trends seen in the first nine months of 2019:
CJ 4DPlex today announced that its multi-sensory 4DX format drew $23 million at the global box office in January, up 18 percent year-over-year, making it the highest ever recorded for the month of January in the history of the company, this despite screenings being suspended in China for several days.
Leading independent Foley studio Alchemy Post Sound has elevated Ryan Collison to partner, joining founders Foley artist Leslie Bloome and CEO Andrea Bloome. Part of the Alchemy team for the past six years, Collison is an Emmy Award-winning Foley mixer whose many credits include such recent projects as The Last Days of American Crime, The Invisible Man, Harry Haft and Fosse/Verdon.
The Norwegian Film Institute has selected Nagra’s media asset management platform DVnor Organizer for secure storage and one-click distribution of its films to more than 170 film festivals worldwide. The system will enable the NFI to receive, store and distribute new cinema titles in high-quality from all the major Norwegian film producers and production companies, as well as store more than 300 catalogue titles. It will also provide subtitling packages in different languages.
Mark Louis is Alamo Drafthouse Cinemas director of presentation. In that role, he is responsible for maintaining the level of technology that has become central to the exhibitor’s brand and identity. Louis is currently overseeing the opening of seven new Alamo theatres across the United States, while simultaneously maintaining the quality control of the established sites. When I contacted him to talk about how he approaches new builds he described himself as “busier that a one-armed reel-to-reel projectionist,” but he agreed to talk via email. Here’s an excerpted version of our conversation.
CAN Film is a boutique post-production and film company based in the heart of Gothenburg, Sweden. Clas Hakeröd and Nikolai Waldman, two highly experienced and trusted names within the industry, started the company in 2015. For the past 20 years they have been producing and post-producing commercials, features, corporate films, documentaries and TV series, like The girl who played with fire, Olympic Games, Saltön, Ettor & nollor, Americas Cup, Uppdrag Granskning, Volvo, IKEA and many more. Recently, Waldman branched out to start the company DejaSoft and develop the editing software tool DejaEdit. Digital Cinema Report spoke with him about how DejaEdit came to be.
The Netflix series GLOW, which launched its 10-episode third season in August 2019, brings the Gorgeous Ladies of Wrestling to Las Vegas and the fictitious Fan-Tan Hotel and Casino. The production captures the personal and professional lives of a group of women who perform for a wrestling organization that started in Los Angeles but now find themselves in glitzy Las Vegas during the 1980s. Cinematographer Chris Teague met with show creators, executive producers and episode writers Liz Flahive and Carly Mensch to pitch his ideas for the new look of GLOW for its new Las Vegas setting, which is where they realized that everyone was on the same page.
Academy Award-winning visual effects studio Digital Domain has opened a facility in Montréal, its ninth location worldwide. The Montréal studio will focus on feature films, episodic and streaming while supporting other groups within the multi-faceted VFX house. The official opening marks the fourth new location for Digital Domain since 2016, with all locations – including the new Montréal office – reporting directly to Los Angeles, the headquarters of Digital Domain’s VFX business.
The International Union of Cinemas, the body representing European cinema trade associations and operators, has today released its provisional update on admissions and box office revenues across Europe for 2019. While some data remains to be collated and figures for certain territories are based only on initial estimates, the overview provided by UNIC represents the first wide-ranging assessment of the performance of the European cinema sector in 2019. More detailed final data on the performance of each territory will be released in Spring 2020.
