ShoWest 2009: The Report

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Thu, 04/30/2009 - 20:00 -- Nick Dager

Harbingers of Things to Come Attendance was noticeably and understandably down at ShoWest 2009 a direct result of the current economic situation. Universal Studios as one major example did not send a single representative. The company was reportedly following an edict from its corporate parent General Electric banning all business travel. Despite the low turnout the show was busy and there were a host of business announcements and several technology developments. The digital cinema rollout moves forward at its current slow but steady pace. There was one significant exception to this: as we detail elsewhere in this Digital Cinema Report AMC Theatres announced that it will convert all of its 5 000 screens with Sony 4K digital technology. And there were credible rumors to the effect that the Digital Cinema Implementation Partners agreements with all the studios could be finalized by late summer. The transition to digital cinema has never been an easy one and the early alliances and partnerships that were put in place were at some point bound to come apart under the pressure of competing interests. As if reinventing the entertainment industry from the ground up wasn’t a big enough challenge as if billions of dollars and thousands of jobs weren’t always at stake now we have a global financial crisis staring us in the face. The central issue – at least in terms of the people who attended the annual ShoWest convention that was held last month in Las Vegas – is who will ultimately control the exhibition business: the seven major Hollywood studios that each year deliver the movies that fuel the whole operation or the exhibitors who present them in venues of various sizes in cities and towns across the country. The central problem is this: with the advent of digital cinema theatres have other options and the studios are not that interested in subsidizing the side businesses that theatres are creating thanks to the new technology. For now given the current economic downturn and the fact that all of the studios now answer to bosses in much larger public corporations the studios quite frankly aren’t in a mood to subsidize anything. Which led to some of the announcements developments and rumors that circulated during the show. The big announcement came from Fox the day before the show even officially opened. In it Fox threatened to stop subsidizing the cost of 3D glasses. As we detail in the Big Picture column in this Digital Cinema Report that threat has apparently ended for now but it could well be revisited in December when Fox releases James Cameron’s Avatar in 3D. Yet another rumor was potentially even more troubling for exhibitors. A major Indian exhibitor with deals in place from five of the studios told me that the Hollywood studios have calculated a number that represents a so-called tipping point in every country in the world. Once that tipping point has been reached the studios believe it will be bad business for them to ship both film and digital versions of a movie and – at that point – they say they will stop supporting film releases in that particular country. Top NATO executives dismissed the idea as just a rumor but only time will tell. NATO meanwhile had other issues to face. There was a revolt of sorts in a closed-door meeting of the Cinema Buyers Group. The session was only open to CBG members but exhibitors who spoke about the meeting afterward said their frustrations centered on two key points: First that the CBG has moved too slowly to advance a widespread deal and second that the deals proposed to date are not as financially favorable as what many small exhibitors can get on their own. The issues were apparently not resolved at the show. Something that no doubt entered into the debate the CBG and its members had at the show was the earlier announcement by Paramount that it will fund digital cinema conversion directly for independent exhibitors who do not have a deal with any integrator. As one independent exhibitor told me privately If three more studios step up and make the same offer I'll jump all over that. As we enter the first summer with significant numbers of digital 3D releases and as their box office numbers rise the various tensions chronicle above will surely only get worse. It promises to be a very hot summer. With all that as a backdrop here are some of the business and technology highlights from ShoWest 2009. Business Announcements Scrabble Entertainment Executives announced that they would partner with five of the six major Hollywood film studios to deploy up to digital cinema screens to India. Scrabble has signed non exclusive agreements with Twentieth Century Fox Warner Bros Walt Disney Studios and Paramount Pictures and is finalizing a contract with Universal Pictures. These agreements became effective April 1st. “Scrabble has been a dream come true for me ” says Ranjit Thakur CEO Scrabble Entertainment. “The ultimate beneficiary of our Hollywood alliances will be the Indian movie audience. India will finally see more Hollywood day and date releases generally wider releases and most importantly all the awesome 3D content which would not be possible without the Scrabble digital platform. Our vision is to convert every multiplex in India which has a potential to screen Hollywood content to DCI Compliant 2K or 4K Systems.” Scrabble Entertainment is currently India’s only 2K DCI-compliant deploying entity. Scrabble has installed 80 Screens to date within the metro cities of India and will install over 500 screens over the next 3 years in more than 100 Multiplexes mostly in the top 8 cities of India. All the large exhibition circuits in India including PVR Cinemas Fame India Limited Inox Leisure and Fun Cinemas have signed up with Scrabble for the installation of these digital systems. Prior to Scrabble India has been a market which was dominated by 1.3-inch chip e-cinema DLP projectors. The deployment agreements are based upon the VPF model essentially a pay per use or booking model. The Hollywood studios will get an opportunity to have wider day and date releases in India at a much lower costs and the digital platform will allow the studios to showcase their 3D titles. The Indian market for Hollywood films is expected to increase and this will translate in higher box office collections for Hollywood Films in India. Currently all the multiplexes in the eight top cities of India collect over 75 percent of the total Indian box-office collection. Hollywood contributes less than 10 percent of that collection. Industry experts feel that there is potential for Hollywood to be over 20 percent of the Indian market and certainly going digital with more day and date releases is one of the ways for them to get there. Christie has already supplied 200 Christie DLP cinema projectors to Scrabble. Christie is enjoying explosive digital cinema growth of more than 400 percent in the Asia Pacific region. To date more than 600 sites in Asia Pacific have installed Christie digital cinema projectors with an additional 500 sites scheduled for conversion by the end of this year. After posting a record of more than 7 000 completed installations worldwide just three years after launching the world’s largest digital cinema deployment plan Christie is now driving the growth of digital cinema in Asia Pacific with many countries in the region embarking on large-scale digital cinema plans. Development deals have accelerated in South Korea Thailand India and China with Christie projector installations leading the film-to-digital transition.
 South Korea-based D-Cinema Korea the joint-venture company of CJ CGV and Lotte Cinema has announced a Virtual Print Fee deal with major Hollywood studios that will launch the country’s largest digital cinema deployment to date. The studios including Paramount Pictures Twentieth Century Fox and Universal Pictures have agreed to provide digital theatrical releases and pay VPF for each title to help offset the initial costs of conversion. For the initial deployment of the plan Christie will provide its Christie CP2000 series projectors in theatres across the country. With this South Korea is expected to be the first fully digitized country in the world. 
In Thailand Christie has worked with its Thailand-based partner Golden Duck Group to develop the local cinema scene. Major Cineplex Group the country’s largest exhibitor has also recently adopted a full Christie digital cinema solution for their theatres in Bangkok. In addition SF Cinema the second largest chain in Thailand is also a firm supporter of the Christie CP2000 Series. 
 “In the recent digital cinema deployment plans Christie has expanded its market share in the Asia Pacific region very rapidly and surpassed the growth rate of most digital cinema providers in this part of the world. Leading exhibitors are now opting for Christie digital cinema solutions as they have witnessed successful Christie implementations worldwide including the US. Our recent series of digital installations in the Asia Pacific is a testimony to the undisputed global quality of our entertainment solution and strong technical support team to help theatres complete their film-to-digital transitions ” says Lin Yu vice president Christie Asia Pacific. “These international deployments position the Asia Pacific region as the next frontier for digital cinema. Christie’s successful participation is backed by extensive experience market leadership and broad insight into the needs of the industry ” says Jack Kline president and COO Christie Digital Systems USA. “To compete on the world stage requires vision on a large scale. Christie is forging global partnerships with all the major industry players to provide the exceptional movie viewing experience of digital cinema.” Sony announced digital cinema agreements and deployments with five U.S. exhibitors across the United States. The new agreements range from outfitting facilities with Sony’s 4K digital projection technology to providing turn-key solutions for converting to digital technology. The new exhibitors are: Muvico Theatres at the Oaks Thousand Oaks California.; Alamo Drafthouse at the Village Austin Texas; The Palace Theatre Canadian Texas; Lincoln Square Cinemas in Bellevue Washington; and Channelside Theatres in Tampa Florida. “The digital cinema industry continues to embrace the unique benefits of Sony’s 4K technology for offering a dynamic entertainment and movie-going experience ” says John Scarcella president of Sony’s Broadcast and Business Solutions Company. “The diversity of these new theatre relationships demonstrates how Sony is able to provide everything that an exhibitor needs for success in digital cinema: the highest-quality most flexible 4K projectors available and also creativity technical and content innovation support and service.” The Alamo and Palace facilities are being handled through Sony’s Digital Cinema Systems Division. The Alamo is installing 4K projectors in each of its four auditoriums while the Palace’s single-screen facility will convert to 4K. For each Sony is working with the exhibitors to install the 4K projectors as well as provide maintenance service and ongoing support for their rollouts. The Muvico Lincoln Square and Channelside projects are being managed through Sony’s Digital Cinema Solutions and Services Group which will also work with the exhibitors to provide installation and complete integration services. Additionally The DCSS group works with Hollywood studios to provide operational and financial resources to exhibitors providing them the performance benefits of 4K technology as a primary component in their digital cinema systems. The group also includes alternative content opportunities and gaming as part of its offerings. The Muvico at the Oaks facility is the theatre chain’s second multiplex to completely convert to Sony 4K projectors following its Chicago area location. Muvico plans to convert additional complexes to 4K technology as well. Lincoln Square is equipping 15 of 16 screens for 4K play back and Channelside is upgrading five of its nine auditoriums to 4K. Each exhibitor is also including 3D projection as part of its 4K rollout. These new agreements are among the first installations of Sony’s newly announced relationship with RealD to provide exhibitors with 3D digital cinema systems. Sony’s DCSS group also announced that it is collaborating with Media Push Entertainment to secure and develop music and entertainment content for digital cinema events in movie theatres as well as for distribution across multiple platforms such as the Internet television and others. Media Push a marketing and distribution company focused on the development acquisition production and worldwide distribution rights for music and general entertainment content in a variety of forms has relationships with an array of media providers including concert promoters artist management companies and music labels that make them the perfect choice to help Sony secure rights to live performance and special music events. Media Push will assist Sony’s DCSS group in securing content as well as developing marketing and sponsorship opportunities. “Our collaboration with Media Push is designed to focus on next-generation in-theatre entertainment ” says Mike Fidler senior vice president of Sony’s Digital Cinema Solutions and Services Group. “Their expertise in the music industry combined with the power of Sony’s 4K technology will help to not only build relationships with artists but also deliver the highest-quality live music events for theatrical exhibition.” “Our marketing and distribution efforts are highly collaborative so each party receives significant benefits ” says Steve Sterling president of Media Push. “Artists and bands get seen by a much broader audience exhibitors have an opportunity to drive more people into their theatres – especially on off nights – and sponsors and advertisers benefit from having their messages viewed on multiple platforms. This integrated approach allows everyone to bridge in-home advertising and out-of-home advertising and promotion to raise awareness for theatre events.” Sony’s DCSS group also entered into a non-exclusive digital cinema deployment agreement with Walt Disney Studio Motion Pictures and Walt Disney Studios Motion Pictures International. The companies will work together to provide operational and financial resources to exhibitors that encourage them to feature Sony’s 4K SXRD projection technology in both 2D and 3D digital cinema-enabled screens across North America and Europe. Sony’s digital cinema group has now signed digital cinema deployment agreements with four major studios: Walt Disney Twentieth Century Fox Paramount Pictures and Sony Pictures Entertainment. Disney continues to be very excited about the possibilities of digital cinema and has long supported new technologies that give moviegoers the best possible theatrical experience and provide a wide range of benefits to our partners in exhibition says Anthony Marcoly president sales and distribution for Walt Disney Studios Motion Pictures International. We're pleased to be working with Sony's Digital Cinema Solutions and Services group in deploying this advanced technology and finding new ways to help theatre owners upgrade their equipment economically and efficiently. Sony's 4K-projection system offers magnificent state-of-the-art technology and gives theatres the flexibility for high-quality 2D playback as well as the increasingly important ability to display spectacular 3D productions. With 17 3D feature films in the Disney pipeline ranging from great animated fare to fantastic live-action epics we believe that 3D exhibition and digital cinema are vitally important to the future of movie going. “Walt Disney Studios is known for its innovative and pioneering work throughout the history of cinema ” says Fidler. “It’s only natural that they are among the studios on the forefront of our industry’s move toward 4K digital technology and we are truly excited to be working with them.” Doremi Cinema announced an agreement with Sydney based Edge Digital Technology to supply its DCP line of digital cinema servers in Australia and New Zealand. The arrangement includes a commitment by Edge to make Doremi their preferred supplier of digital cinema systems.

Peter Williams GM of Edge says “Doremi Cinema has been a driving force in digital cinema technology. Their continued ability to increase the feature set in their servers is unmatched. We are thrilled to represent their products to the Australian and New Zealand market as this region expands its transition to digital exhibition.”

 “Doremi prides itself on partnering with highly qualified cinema integrators around the world ” says Michael Archer vice president of Doremi Digital Cinema. “Given our proximity to Australia we knew we had to partner with a company not only entrenched in the exhibition community but one that has the technical prowess to provide the service and support required for digital cinema. Edge has an outstanding reputation and track record for installing the latest digital cinema technology to hundreds of screens throughout the region. We are pleased to partner with them.” Barco announced today that Fountain Valley California-based Moving Image Technologies has selected Barco as the preferred digital cinema projector supplier for a new financing program targeted at enhancing the buying power for small to medium-sized theatre owners. MIT has teamed with Brea California-based All Media Capital in order to assist theatre owners desiring to move into the digital and 3D projection realm. With the ability to pool resources and secure lease financing and bulk purchases the program offers an excellent financing alternative to the independent exhibitor. Joe Delgado vice president of sales and marketing for MIT says “Small and medium-size exhibitors who want to take advantage of 3D now have a viable path for implementing digital cinema. We're offering an opportunity to bring together those theatres who want to deploy a 3D option. As opposed to each exhibitor individually purchasing one or two units we're facilitating a position of volume with orders at significant savings.” “At Barco we're extremely pleased to participate with MIT as the preferred digital cinema vendor in this special financing program that supports the independent theatre owner ” says Joe DeMeo director of sales for Barco's Digital Cinema activities in North America. “By taking advantage of this financed opportunity the independent theatre owner can realize all the benefits of digital cinema including 3D and alternative content projection as well as having the finest picture available on screen using Barco projectors.” NEC announced the installation of forty NEC digital cinema projectors in theatres across the US to support the 3D release of DreamWorks Animation SKG’s new film Monsters vs. Aliens. Working in conjunction with RealD 3D and Dolby 3D systems these include screens at Marcus Theatres Clearview Cinemas National Amusements and Southern Theatres. “3D continues to be the leading impetus in the shift to digital cinema and NEC’s technology is making what could be a challenging scenario easier and more manageable ” says Jim Reisteter general manager Digital Cinema Division NEC Corporation of America. “Both our NC2500S and NC1600C projectors are being well received by a large cross section of the exhibitor population and with the installation and servicing support from our master reseller Strong Technical Services we are championing the movement toward digital cinema.” Mark Collins director of projection technologies for Marcus Theatres says “We are very pleased in the performance and reliability of the NEC Digital Cinema Projectors that we use for both 3D and 2D exhibition.” Doug Oines senior vice president and general manager of Clearview Cinemas says “Clearview is committed to bringing our customers the ultimate movie going experience utilizing state-of-the-art technology. Our installations of NEC Digital Cinema Projectors help us do that. The quality of the projectors and the after sales service offered made NEC the natural choice for our installations.” Ron Krueger COO of Southern Theatres says “After a careful evaluation process we at Southern Theatres have decided to use the NEC projectors exclusively in our chain for all our digital installations. The performance and reliability of their product combined with the impressive professionalism of their management team made this a simple choice on our part.” William Towey senior vice president of operations for National Amusements says “We have continued to add more NEC digital cinema projectors in to our theatres and have growing confidence in their reliability and performance.” XpanD has equipped six theatres in the US with digital 3D systems at five Premiere Theatres locations operated by United Entertainment Corporation in Pennsylvania North Carolina and Tennessee and at Camelot Cinemas in Greenville South Carolina. The Camelot Cinemas and UEC installations add two new theatre groups to XpanD's North American customer base and signal the company's increased penetration of that market. “We’re delighted to be working with Camelot Cinemas and United Entertainment Corporation to bring the highest quality 3D cinema experiences to their customers ” says Maria Costeira CEO of XpanD. “The Camelot Cinemas installation ranks as one of the biggest and best digital 3D environments created to date demonstrating the ability of our system to deliver superior 3D on a giant screen with a single projector. UEC in selecting XpanD 3D systems can now satisfy patrons clamoring for the new wave of 3D titles from Hollywood.” “The XpanD system has transformed our 700-seat auditorium with its 60-foot giant screen into the best 3D presentation I’ve ever seen ” says Camelot Cinemas owner Andrew Reynold. “XpanD met the challenge beautifully in conformance with just one projector and some of our technical folks have claimed it to be the best 3D they’ve ever seen.” Mediavision has signed an agreement with SmartJog for the electronic distribution of cinema advertising pre-show content to movie theatres. The integration of the SmartJog technology within the Mediavision workflow automates the electronic delivery of advertising content directly to digitally equipped theatres. In the theatres the SmartJog technology platform can be integrated with the Theatre Management Systems and digital cinema playback servers to automatically upload play lists and advertising content mastered in digital cinema format and retrieve as-run logs. “We are excited to provide Mediavision with a file-based delivery system and value-added integration features which provides greater flexibility while optimizing coordination of advertising campaigns” says Nicolas Dussert theatrical sales director at SmartJog. Eric Jourdan general manager of Mediavision says “This initiative is part of the digital plan led by our parent company Medias & Regies Europe. The choice of going digital in addition to our partnership with SmartJog will result in time efficiency and a greater flexibility for the programming of advertising campaigns as well as the highest image quality possible with no alteration over time.” Cinetize of Casper Wyoming announced the public beta launch of its website The company says it’s the world's first and only website dedicated to offering digital cinema content on demand. The site is designed “to provide high quality pre-show content and branding messages for the budget-minded operator.” Access to digital policy trailers and other promotional materials is an essential part of the digital cinema equation says developer Shawn Houck. As the number of theatres embracing digital cinema grows it is clear that theatre managers need new tools for communicating with their audiences. Houck a 12-year veteran of the cinema advertising industry says this is the reason he founded We want operators to know that their digital inventory can go far beyond coming attractions and feature-length content. For example managers should be using their new digital equipment to remind patrons to turn off their cell phones or promote a hot new concession item. In the past even generic pre-show policy content or rolling stock was a luxury that only the largest operators could afford. Visitors to however will be glad to know that most stock clips are available free of charge and the collection is always growing. For those who prefer to go a step beyond the generic Houck says We have developed dozens of generic policy trailers that can be affordably modified or customized for a particular theatre's use. Their plan is to supplement this inventory with promotional content from major concessionaires studios and industry vendors. We intend to develop a channel that our partners can use to promote their products and brands on the big screen Houck says. Continuing the successful relationship between Marcus Theatres and Harman cinema products the Chicago suburb of Orland Park Illinois recently celebrated the opening of a new 70-foot-wide UltraScreen at the Orland Park Cinema. The Orland Park UltraScreen theatre seats 400 and is Marcus Theatres’ 12th UltraScreen to date. Supporting the picture displayed on the large screen at Orland Park is an audio system comprised of JBL ScreenArray and AE Series loudspeakers and Crown Audio’s Digital B-Chain. Located behind the screen are three JBL ScreenArray 4632 3-way loudspeakers for screen channels along with six 4642A subwoofers. Additionally a total of eight AC2212/95 compact 2-way loudspeakers are mounted on the side walls (four per side) with an AM4315/95 3-way loudspeaker in each rear corner. “The system at the Orland Park UltraScreen has worked out great since opening in December 2008 ” says Mark Collins director of projection technology Marcus Theatres. “We have incorporated JBL and Crown components for similarly designed systems at other UltraScreen locations and it has proven to be a successful model to follow. That said as Harman products evolve so will our systems as exemplified by a new UltraScreen at the North Shore cinema in Wisconsin which will include JBL’s new ScreenArray 4732 loudspeakers and Crown I-Tech HD amplifiers. We look forward to hearing the new system when the theatre opens in mid-May.” “The new UltraScreen at Orland Park not only exemplifies the outstanding performance of the Digital B-Chain technology but also the ability of JBL loudspeakers across different product categories to work optimally together in this case the ScreenArray and AE Series loudspeakers ” says Goodsell. Cinedigm Digital Cinema announced that MGM will supply its upcoming movies in digital form to the network of theatres Cinedigm equipped in Phase 1 of its digital cinema deployment plan and will pay virtual print fees under a long term agreement. This new agreement is a continuation of a partnership between Cinedigm and MGM. “As we continue to add more major distributors like MGM to our long term Phase 1 and Phase 2 plans we are not only providing more higher quality digital choices for theatres and their customers we are adding value for our shareholders ” says Bud Mayo chief executive officer of Cinedigm.
Jim Orr executive vice president and general sales manager of MGM’s Domestic Distribution division says “Given the growing trend toward digital content and distribution it is clear that digital cinema has an incredibly bright future and MGM is pleased to formalize our relationship with Cinedigm.” 
 Cinedigm Digital Cinema together with Ballantyne of Omaha and NEC Corporation of America announced the mutual signing of a supply agreement to offer NEC digital cinema systems to theatres nationwide. “We are excited to have NEC Ballantyne and STS join us in our mission to digitally-equip theatres across the country ” says Mayo. “Based on our strict internal screening process and their reputation in the field we are confident that NEC Ballantyne and STS will provide industry-leading equipment and excellent service and support to prospective clients and we look forward to working together in the years ahead.” “Ballantyne and STS are thrilled to team with Cinedigm to provide theatre owners the hardware installation services and training needed to create a seamless transition to digital operations ” says John Wilmers president and CEO of Ballantyne of Omaha. “We are confident exhibitor clients will be completely satisfied with our combined solution.” “Cinedigm is the world’s leading provider of digital cinema technology and services and NEC is delighted to partner with them through Ballantyne in their ongoing rollout to theatres nationwide ” says Jim Reisteter general manager Digital Cinema Division NEC Corporation of America. “Our collaboration with Cinedigm presents a valuable opportunity for NEC and we look forward to working together to provide Cinedigm and its exhibitor customers the highest quality digital projection equipment and technical support throughout the upcoming years.” In a move that will accelerate the conversion of cinemas in Asia to digital technology GDC has reached a non-exclusive agreement with another Hollywood Studio for digital cinema deployment across Asia. Under this agreement Walt Disney Studios Motion Pictures International will join other major Hollywood studios in committing to supply Asian exhibitors with feature film content digitally as well as to make financial contributions for a limited period of time towards the hardware cost of DCI-compliant digital cinema equipment deployed by GDC. Phase 1 of the program covers up to 6 000 screens in various countries throughout Asia. Along with its current roll out in China this milestone signals GDC’s on-going commitment to Asian exhibitors as a trusted partner in digital conversion. GDC is currently setting its sights on a Phase 2 program which will cover even more Asian countries. Anthony Marcoly president sales and distribution Walt Disney Studios Motion Pictures International says “GDC’s work on digital cinema throughout Asia is very well known to us and as such makes them an excellent deployment partner. Not only are we happy to support this large-scale pan-Asian rollout for digital cinema we are also exceptionally excited about the added digital 3D capabilities this deployment will enable. With Disney’s 17 digital 3D motion pictures in the pipeline we know that audiences are going to love being completely immersed in these great fantasies and adventures.” GDC has also won a major deployment contract in the U.S. in partnership with Barco. The project will see the deployment of 99 servers into seven Premiere Cinemas from Texas to Florida with Barco taking up the role as the primary system integrator and projector supplier. Texas-based Premiere Cinema is one of the largest independent theatre circuits in the U.S. operating theatres in the southern-eastern states of Texas Florida Alabama. “Premiere chose GDC servers from the approved Cinedigm equipment list over other servers because of its advanced features superior reliability and first class customer service ” says Gary Moore CEO of Premiere Cinemas. “GDC has a proven track record outside the U.S. but may be lesser known here. However after our rigorous in-house tests on their servers and working with their support team we were convinced that GDC was the right choice for us.” “Barco is delighted to be the chosen partner of Cinedigm in its phase II program in which Premiere Cinemas is a participant ” says Barco vice president Digital Cinema Todd Hoddick. “The fact that Premiere Cinemas has chosen GDC servers for its roll out program is also good news to us as we have worked closely with GDC in numerous projects before; we are happy to work with such a trusted partner on yet another major project.” GDC and Barco announced the signing of a digital cinema deployment contract with Zhejiang-based Hengdian Entertainment a subsidiary of Hendian Group. Hengdian is the biggest private company in the film and television industry in China and is also the thirteenth largest exhibitor (according to 2007 published box office collection) in China. The contract will see the initial deployment of 20 digital cinema projection systems for Hengdian over a three-month period starting in April. “This project is a continuation of our close partnership with GDC in the deployment of digital cinema systems in China ” says Frank Christiaens managing director Barco China. ”We value this partnership and are confident to see more successes coming our way as digital cinema takes off in China.” “Hengdian Group is no ordinary company in China and how it has developed the world's largest entertainment conglomerate from scratch over 10 years is itself a legend ” says Dr. Man-Nang Chong. “We are excited to work with a company with such an illustrious background and see great potential working with it who is now in the early days of its exhibition business.” GDC Technology and RealD announced that they have entered into an agreement whereby GDC will become a distributor for RealD’s 3D systems in Asia. Under the non-exclusive agreement GDC will work with RealD in territories such as China Hong Kong Taiwan Thailand Indonesia and Singapore. GDC will be a representative for RealD’s 3D systems covering sales inquiries technical support maintenance installation marketing support and on-going operations. GDC has gotten off to a good start in successfully securing deployment deals with two largest cinema chains in Hong Kong: Broadway Circuit and UA Cinemas. Coupled with GDC’s own range of excellent digital cinema products and the recently signed VPF agreements with major Hollywood studios the RealD distributorship is a significant new addition to GDC’s repertoire of product and service offerings. GDC is undoubtedly now the only company that can provide Asian cinema exhibitors an unprecedented level of one-stop solutions to meet all their needs for digital conversion and 3D digital cinema. Harkness Screens was selected as the screen supplier of choice for Le Theatre des Arts Paris Hotel where many of the ShoWest screenings took place. Harkness was also highlighting its Perlux 220 screens. Technology Developments DLP Cinema announced the next generation DLP Cinema electronics platform which is designed to provide an integrated solution by combining the three boards needed to produce images into a single board while retaining the necessary functionary required for use. Additionally it incorporates high security requirements and specification architecture while providing a cost reduction to partners and increased bandwidth to integrate alternative content to incorporate live 3D broadcasting. 
 It is scheduled to be released by the end of 2009 and will be deployed by the three OEM licensees Christie Barco and NEC at commercial theatres around the world starting in 2010. 
DLP Cinema was also celebrating the fifth anniversary of digital 3D technology enabled in a single projector solution through the use of the DLP Chip capable of lighting up screens as big as 100 feet and 3D screens as big as 75 feet. DLP Cinema also noted another milestone: IMAX Corporation’s use of DLP Cinema projection technology now boasts 74 IMAX locations worldwide. Dolby and International Datacasting Corporation announced that they have signed a licensing agreement to incorporate Dolby 3D color correction into IDC’s 3D live decoder hardware for live 3D content delivery to movie theatres. 
 “Both IDC and Dolby recognize that great image quality is essential to the live 3D experience. By leveraging Dolby’s expertise in color correction IDC’s 3D live products developed with Sensio Technologies will take the 3D live experience to the next level ” says Ron Clifton president and CEO of IDC.

 “Exhibitors around the world want to present pristine live 3D content and with Dolby’s 3D color correction in IDC’s products they will have the ability to present alternative content in Dolby 3D ” says Carey. “Both Dolby and IDC deliver innovative products for digital cinema and this relationship reinforces our commitment to make the latest advancements available to our 3D exhibitors.” 
 IDC plans to integrate Dolby’s proprietary 3D color correction solution into its SuperFlex Pro Cinema 3D Live Decoder to deliver advanced image quality to movie theatres equipped with Dolby 3D Digital Cinema systems. In addition Dolby plans to include network-integration capabilities to ensure correct control of the Dolby 3D system.
The Pro Cinema 3D Live Decoder was developed by IDC in conjunction with Sensio Technologies in order to expand IDC’s digital cinema suite of products used for file-based movie delivery. The Pro Cinema 3D Live Decoder allows the streaming of live alternative content to movie theatres via satellite. Dolby also featured several products at the show including:

The Dolby CP750 processor integrates with preshow servers alternative content and digital cinema servers. The processor can play back PCM digital audio; Dolby Digital Dolby Pro Logic Dolby Pro Logic II and Dolby Digital Surround EX streams; and analog audio. By allowing the theatre’s network operations center to manage the system the unit can be monitored controlled and upgraded from one centralized location via the Internet. The CP750 can process hearing impaired and visually impaired tracks. 

The Dolby 3D Digital Cinema 3D system supports both 2D and 3D playback without the need for a dedicated 3D auditorium or a special silver screen. Also on display were the Dolby Digital Cinema Server and Show Library. Dolby announced that its 3D now works on screens as large as 41 to 70 feet. The new Dolby 3D large-screen solution is compatible with all of Barco’s digital cinema twin-projector offerings including the ultra-bright DP-3000 flagship projectors. “This is a milestone for Dolby 3D projection capabilities as screen size has to date been limited to accommodate a range of up to 40-42 feet ” says Page Haun senior director cinema marketing Dolby Laboratories. “Dolby realizes that exhibitors need the flexibility to provide 3D in their largest and smallest auditoriums and with this announcement Dolby is now able to support exhibitors’ various needs.” 

 Exhibitors have told us they want 3D without compromise. No excuses no compromises simply the right amount of light and a consistently beautiful image for screen sizes reaching all the way up to 70 feet says Wim Buyens vice president digital vinema for Barco's Media and Entertainment Division. “With Barco's twin-projector offering and Dolby 3D for large screens exhibitors can now move 3D audiences into their largest auditoriums to maximize 3D revenues. Malco Theatres the first to test Dolby 3D for large screens recently used it to screen Walt Disney Pictures' Jonas Brothers: The 3D Concert Experience at its Malco Paradiso multiplex in Memphis Tennesse and Malco Grandview in Madison Mississippi. 

Dolby continues to assist exhibitors by developing new ways to make the cinema going experience more immersive and this collaboration effort with Barco will help to bring 3D to the next level ” says Mike Thomson vice president operations and technology Malco Theatres. The ability to play back Dolby 3D on our largest screens has been very successful. Sony unveiled new technologies designed to work with its 4K digital cinema projection systems. The new technologies include a Theatre Management System which can provide exhibitors with increased efficiency and automation in their operations and a new anamorphic lens for higher brightness in 2D projection systems. “Exhibitors moving to digital cinema are looking for all the necessary tools and options to be readily available and easy-to-use in order to make their digital transition as smooth as possible ” says Gary Johns vice president of Sony Electronics’ Digital Cinema Systems Division. “Their goal is to provide the highest-quality presentation for their customers while simultaneously increasing their efficiency and eliminating operational mistakes.” The new anamorphic lens model LKRL-A001 will allow exhibitors to reach 14 foot-lamberts of brightness on screens up to 70 feet wide. Sony will work with studios and the digital cinema industry to gather input so that the new lens meets with necessary technical requirements and standards for digital cinema projection. The new Theatre Management System includes a direct interface to the Sony Screen Management System that controls all the 4K projectors in one location. Through one user-friendly graphical interface operators can: import schedule data directly from their ticketing and/or point-of-sale system; create schedules using a show template; monitor the status of screens projectors and other equipment; and also transfer schedule data and DCP/KDM automatically. The SMPTE/DCI compliant Theatre Management System (DCI Specification Version 1.2) can support up to 32 screens and the system is compatible with a range of media formats including: JPEG-Interop and SMPTE formats. The Sony Theatre Management System is expected to be available in June and the lens is planned to be available in July.
 Christie announced that its Global Quality department and Network Operations Center have released data confirming 99.999 percent reliability for Christie lamps in Christie projectors. The statistical information for the reliability data is acquired from the Christie Network Operations Center which has monitored more than 10 million showings over the last 24 months. The sample size for the data includes the 3 800 Christie digital projectors deployed during Phase 1 of the Christie/AIX (now Cinedigm) digital cinema roll out which began in December 2005. Every digital cinema system in the deployment is remotely monitored 24/7 and evaluated for environmental health maintenance reliability and uptime. According to Craig Sholder vice-president Entertainment Solutions at Christie “We are in the unique position to have quantifiable data that confirms that Christie lamps with Christie projectors provide exhibitors with 99.999 percent proven uptime. Each month our NOC monitors more than 500 000 individual showings and each month our Quality department analyzes the data from the NOC to ensure that our systems continue to perform flawlessly.” Sholder adds “We’re very excited to be able to share these results with our customers. In today’s current economic climate it is absolutely critical that every exhibitor has every opportunity to generate revenue from every single showing—with Christie lamps in Christie projectors exhibitors can choose a solution that provides a clear assurance of reliability.” 
 Christie introduced Brilliant3D with triple flash technology. The company says this significantly boosts projector performance and image brightness and delivers the industry’s best single-lens solution for 3D. It utilizes the entire reflective surface of the DMD chip from Texas Instruments enabling 3D content to be projected in full 2K-resolution. The technology is available on the Christie CP2000-SB Christie CP2000-XB Christie CP2000-ZX and the compact Christie CP2000-M. 
 “For theatres it’s all about the light ” says Gary Engvold president of Integrity Entertainment Systems an authorized digital cinema reseller for Christie. In the past five months Integrity has been rolling out the full resolution 2K triple flash Christie CP2000-ZX projectors. It recently installed four systems at Bow Tie Cinemas six at Zurich Theatres and three at Dipson Theatres.
 “Not all equipment is created equal ” Engvold says. “Christie projectors offer superior optics that put much more light on the screen – a key requirement for 3D. The full 2K-resolution delivered by Christie Brilliant3D technology means theatres don't have to reduce the content size for the screen so audiences see a brighter clearer picture. But it’s not just about what’s on the screen. Christie also offers a solid support structure behind every one of their projectors.”
 The company sees 2009 as a watershed year when digital cinema will finally gain widespread acceptance and anticipates the installation of Christie 3D projection systems in Brazil Chile Ecuador Honduras Panama Peru and Ecuador.
 “Christie Brilliant3D projectors are our first choice for installation because their cutting edge 1.2-inch full-chip resolution triple flash technology provides the highest brightness an important benefit for 3D ” says Guillermo Younger president of Cinema Equipment and Supplies. “Our clients are very responsive because they know we offer them projection systems that deliver the best picture possible for their screens. We’re proud to be associated with Christie a true industry leader whose customer service and support are numero uno.” 
 Christie introduced a motorized lens mount solution that is fully compatible with all Christie DLP Cinema1.2-inch DMD based projectors. The Christie motorized lens mount solution consists of a lens mount motors and downloadable software allowing theatres to easily and reliably change between flat and scope screen formats with a single lens set-up. It is designed to automatically adjust offset focus and zoom making it the most accurate and convenient solution on the market. 
With the growing popularity of 3D digital cinema the motorized lens mount is also designed to work hand-in-hand with Christie’s new Brilliant3D technology. The entire reflective surface of the DMD chip is used to produce crisper and clearer images providing the ultimate 3D movie viewing experience.
Available in May Christie will offer a motorized lens mount upgrade kit that is compatible with any previously deployed Christie CP2000 series projector. The motorized lens mount is also available as an optional feature on all newly purchased Christie CP2000 projectors. The Christie CP2000-M projector has a motorized lens mount system built in and does not require an upgrade kit. The motorized lens mount represents the ultimate in convenience and reliability giving management more options to optimize their booth operations. “It reflects Christie’s ongoing commitment to provide the best performing easiest to use projection systems in the industry ” remarked Brian Claypool senior product manager Christie Entertainment Solutions. 

The motorized lens mount is compatible with all existing and new Christie zoom lenses. It will also accommodate a new series of fixed prime lenses coming into the market. 
 Kodak demonstrated what it calls the first fully integrated ability to show advertising and other pre-show material on the Kodak server used to playback feature movies. The result will be a smoother presentation to cinema audiences more detailed audit reporting for ad suppliers and simplified booth operation for theatre owners. In the digital world we really started with systems to handle the pre-show says Gary Einhaus vice president and general manager Kodak Digital Cinema so it's logical that this important breakthrough comes from Kodak. Ads can be encoded in the economical non-wrapped MPEG2 format while features are compressed in JPEG. The Kodak server recognizes both and switches automatically to deliver a seamless presentation. Kodak developed this initial approach in conjunction with one of their major customers to meet their specific needs. The customer is testing it currently in real world conditions even as Kodak is working also with the industry's leading ad suppliers to adapt the approach to their workflow to accommodate their business rules. Our plan is to work with others to find ways to enable them to connect to our system says Einhaus. We believe our flexible approach will provide clear benefits to ad suppliers and their exhibition partners and will result in a more consistent presentation for audiences. The new Kodak approach will enable the program to be run on the same projector used to show the feature presentation so it should look better and brighter and be more consistent with the brand image of the advertisers involved and the expectations of the cinema audience. Pre-show providers will no longer have to provide separate hardware systems projection bulbs maintenance and support. And with the Kodak system they will be able to gain more detailed and useful data to share with their advertisers. Other systems offer aggregated data says Einhaus. Our system audits each ad or other element on an individual basis; the ad supplier knows conclusively which ads have run – so costly make goods can become a thing of the past. Today there are often two systems in the booth – one showing pre-show the other playing trailers snipes and features – and the exhibitor has to switch between them. The trailers sometimes start late and there may be other disruptions. With one system playing everything the exhibitor will have a system that's easier and less labor intensive to operate - and less prone to errors and other problems. Images are automatically resized to fit the screen color space and frame rates are automatically converted the projector is started once for the full presentation masking and lighting are adjusted. This is one more indication that we intend to do what Kodak has always done in the entertainment industry – provide innovations that turn technology's promises into realities that benefit everyone and can be enjoyed by the cinema audience Einhaus says. XpanD introduced its newest model of 3D glasses – the X101 Series. The company says the active glasses were developed in response to customer demand and exhibitor preferences for an upgrade that delivers a sleek stylish lightweight form factor with superior imaging clarity and brightness. Several new features of the X101 3D glasses enhance the movie-going experience for theatre patrons while simplifying overall operations for the exhibitors. Essential support products include a new 3D Glasses Trolley for ease with distribution collection and inventory controls as well as a streamlined process for sanitizing glasses with disposable wipes. “The future of 3D cinema is here and XpanD is 3D’s future success – for an array of markets beyond commercial and institutional theatres with hospitality venues touring shows live events and gaming ” says Maria Costeira CEO of XpanD. “We’ve built a successful international business combined of technical excellence creativity and affordability. Our new X101 Series is based on what exhibitors told us they needed in order to have the best 3D movie experience for their patrons the best 3D system performance and most cost-effective 3D solution with environmental awareness. As a result our orders and installations are skyrocketing and we’ve taken the necessary steps to double production to meet the demand. We are committed to providing exhibitors with a complete 3D cinema solution.” QSC showcased the DCP 300 a comprehensive digital cinema processor designed for both digital cinema upgrades and new installations. It combines 24-bit 16-channel digital cinema processing with DSP crossover functions and remote Ethernet-based monitoring and control features that can give guidance to entire audio systems. Capable of receiving up to eight AES pairs of input from digital cinema servers on two DB25 connectors the DCP 300 facilitates network digital audio transport as well via CobraNet to easily accommodate future expansion. “The reaction the DCP 300 received at this show was nothing short of phenomenal ” says QSC senior director of cinema solutions Barry Ferrell. “We’ve never drawn this kind of attention from a product launch ever. You go into these things knowing in your heart that you have a great product but you can’t help but develop a case of nerves the night before the show opens. The overwhelming positive response we received was definitely a big validation from the outside world that we got it right.” Ferrell credits the DCP 300’s full feature set as being one of the primary factors drawing wide attention to the product. Among these features the device’s full compatibility with QSC's DCA amplifiers allows it to be added to applications converting to digital projection without the need for replacing existing amps. Housing advanced DSP crossover settings for the QSC family of DCS loudspeakers supporting up to five active two-way three-way or four-way screen channels the device additionally offers full one-third octave graphic EQ on all channels (except subwoofer) a master volume and master mute and an internal pink noise generator. Ten channels of analog inputs have also been thoughtfully provided for legacy 35mm film processors. Dual power supplies further complement the package along with complete parameter backup via SD memory. “From an end-user’s standpoint these are all features inherently designed to keep you on-screen or get you back up quickly ” Ferrell says. “That means the show goes on night-after-night uninterrupted.” GDC and RealD also announced the completion of integration of RealD’s 3D EQ (ghostbuster) technology in GDC’s line of SA-2100 digital cinema servers. GDC licensed RealD’s 3D EQ in January 2009 and completed the integration of RealD’s proprietary 3D EQ technology into GDC’s SA-2100 digital cinema server in less than 3 months. GDC’s servers were also validated by RealD’s laboratory ensuring a single 3D DCP format can be used without making a different DCP for RealD’s 3D equipped cinemas for optimal 3D visual experience. GDC has decided that all existing GDC SA-2100 line of servers will get RealD’s 3D EQ feature in the next software upgrade and servers shipped from May 1 2009 will have this feature built-in. It is expected that GDC’s server with 3D EQ will significantly save the movie distributors millions of dollars by adopting DCI requirement of a single 3D DCP format for digital cinema distribution. Cinemark has outfitted its new XD³ auditorium with JBL custom-engineered ScreenArray loudspeakers behind the massive 70-foot screen. The innovative auditorium in West Plano Texas also includes a custom designed surround system featuring powerful JBL Application Engineered speakers that provide the perfect coverage and a completely enveloping surround sound experience. The screen speakers and surround system are complimented by an array of JBL 18-inch subwoofers to provide thundering low-frequency effects. The new Crown I-Tech HD amplifiers featuring the most advanced amplifier technology available power the system. “The XD³ format offers Cinemark customers an extreme digital experience ” says Alan Stock Cinemark’s CEO. “We have created an environment that engages all of your senses and pulls you into the movie.” “JBL and Crown are pleased to have designed the Custom Cinemark Sound System to compliment the ultimate visual experience in the new XD³ digital auditorium ” says Chuck Goodsell director of cinema marketing JBL Professional. “The JBL Custom ScreenArray speakers feature patented technology and are designed to provide the most accurate and powerful reproduction of digital sound possible.” JBL introduced the second generation of its ScreenArray digital cinema loudspeakers. These “feature the new large-format three-inch neodymium titanium diaphragm high-frequency compression driver for ultra high performance. This new high-frequency driver is coupled with the patented high-frequency horn featuring Screen Spreading Compensation to correct for high-frequency dispersion through perforated screens. The new low-frequency sections feature the patented Differential Drive Direct Cooled 15-inch woofers for improved power handling and reduced distortion. All of the new ScreenArray series models have new Optimized Aperture waveguides for ultra low distortion and extremely uniform frequency response. Each system has improved patented crossover design using the most advanced computer modeling. The new ScreenArray speakers consists of the 4732 3732 and 3731 3-way systems (available in both triamplified and biamplified versions) and the 4722 and 3722 2-way speakers (available as both bi-amplified and fully passive systems). “The new ScreenArray loudspeaker models build on the success of their revolutionary predecessors while at the same time truly representing the next generation in cinema loudspeaker technology ” says Chuck Goodsell director of cinema marketing JBL Professional. “With these new models the bar has been effectively raised for sound quality in the most state-of-the-art theatres around the world.” JBL also featured its Digital Surround Series loudspeakers: the 8320 the 8350 and the 8340A. The 8320 compact surround loudspeaker boasts 150 Watts of power in a very compact molded enclosure. The 8320 low-cost system features internal Thermomaster technology which allows for unprecedented high-frequency power and an 8-inch long-throw woofer for extended low frequency. The 8350 high power digital cinema surround loudspeaker offers 350 Watts of power and very high sensitivity for digital presentations that require extended dynamic range. The high-frequency section features a titanium compression driver with a constant coverage horn for high output capability with very even high-frequency coverage. Lastly the 8340A Surround provides 250 Watts of power and has been the choice of theatres and post-production venues throughout the world and remains the standard of the new JBL Digital Surround Series. “Since introducing the 8320 and 8350 last year response from the cinema market has been overwhelmingly positive ” says Goodsell. “With JBL ScreenArray screen channel systems and the Digital Surround Series powered by Crown DSi amplifiers the Harman Cinema Group provides the most advanced total cinema sound solution in the cinema industry.” Crown Audio introduced the DSi 6000. The newest addition to the DSi series the DSI 6000 is designed to provide further support for the JBL line of cinema loudspeakers. The DSi 6000 features automatic presets for JBL cinema speaker systems for quick and easy setup. An intuitive front panel LCD panel guides installers through the process of choosing loudspeaker signal processing presets and other system parameters. All DSi series amplifiers can be configured through the Harman HiQnet System Architect platform. “The DSI 6000 represents our commitment to provide the end users in this market with a continuously expanding variety of options to meet the needs any environment. The collaboration with JBL in the development of the new DSI 6000 is an example of the ability of Harman brands to share product development expertise ” says Andy Flint marketing manager for Crown. The DSi6000 amplifiers include Crown’s extremely light and efficient switch-mode power supply and weighs 24 pounds. The DSi 6000 has a three-year no-fault warranty. The power rating for the new DSi 6000 is 2100 watts per channel at 4 ohms. All Media Capital Ballantyne of Omaha Barco Christie Digital Systems Cinedigm Digital Cinema Crown and JBL Professional are units of Harman International Cinetize Dolby Laboratories Harkness Screens Kodak Digital Cinema Mann Theatres Marcus Theatres Metro-Goldwyn-Mayer Moving Image Technologies NEC RealD UltraStare Cinemas QSC Scrabble Sony ,929
Getting down to Business,2009-05-01,Attendance was down at NAB 2009 but the overall mood was bullish. An in-depth look at what went on in our next Report. ,938
Rush: Beyond the Lighted Stage,2010-05-28,D&E Entertainment in association with Banger Films Anthem Entertainment and Zoe Vision are releasing the documentary film Rush: Beyond the Lighted Stage in more than 100 US digital cinemas starting June 10. Directors Sam Dunn and Scot McFadyen (Metal: A Headbanger’s Journey Iron Maiden: Flight 666) have created a comprehensive exploration of this extraordinary power trio from their early days in Toronto through each of their landmark albums to the present day.  Featuring never-before-seen archival footage and interviews with notables such as Jack Black Billy Corgan Trent Reznor Taylor Hawkins (Foo Fighters) Kirk Hammett (Metallica) and Gene Simmons this film explores the forty-year career and phenomenon behind what could be the world’s biggest cult band. The film won the Audience Choice Award at the 2010 Tribeca Film Festival and has also received great press in Variety Billboard and Entertainment Weekly. Participating theatres include: Mann Marcus UltraStar Clearview Wehrenberg Krikorian Hollywood Theaters Bow Tie Emagine Trademark Rave Studio Movie Grill Kerasotes Cleveland Cinemas Patriot Cinemas Belcourt Megaplex Malco Cobb Big Picture Camera Cinemas Celebration Cinemas Allen Theatres Santikos Emagine Harkins Alamo Drafthouse The Regent Theatre and Showplace East Cinemas. D&E has previously worked with Banger Films’ Scot McFadyen and Sam Dunn in theatrically distributing and marketing their platinum DVD Iron Maiden: Flight 666. McFadyen says “We learned with our film Flight 666 that a digital theatrical release was a great way to get our film out on the big screen without the daunting expense of a sustained theatrical release. It was also a way to assure that the theatres would be filled with fans experiencing the film with great picture and sound. After all watching a music film in a packed theatre is always the best way to experience it!” “D&E Entertainment is very pleased to be working with Scot and Sam again as well as SRO-Anthem and Rounder in giving the critically-acclaimed Rush: Beyond the Lighted Stage the nationwide theatrical release it deserves.  The film is an insightful and heartfelt look at Rush a story that will appeal to fans of all genres of music and film. This is a perfect digital cinema collaboration of an independent film distributor working with award-winning filmmakers consumers and our digital theatre partners in creating a win-win situation for everyone ” say Evan Saxon and Doug Kluthe of D&E Entertainment. The film has a running time of 106 minutes. D&E Entertainment ,1726
Brothers at War,2009-05-12, Documentary filmmakers are generally advised to choose a topic about which they are deeply passionate. Jake Rademacher certainly heeded that advice for his first film. His movie tells the story of his relationship with two of his brothers both of whom are currently stationed in combat zones. The result is different from any movie I’ve seen certainly any movie about war. I agree with film critic Roger Ebert who said “I've been waiting for this film since the early days of the war in Iraq. Brothers at War is an honest on-the-ground documentary about the lives of Americans fighting there. It has no spin. It's not left or right. I don't recall if it even mentions President Bush. It's not pro or anti-war although obviously the two brothers fighting there support it. It is simply about men and women.” The movie opens May 15th in Los Angeles. It played in New York City earlier this month at a series of screenings co-sponsored by Sony at the AMC Loews Village 7. Sony also invited New York City police officers firefighters and service men and women to attend the weekend screenings and meet Rademacher who held a question and answer session after one of the screenings. I attended as a Sony guest. Brothers at War released by Samuel Goldwyn Films follows Rademacher as he travels to Iraq to embed with American combat units in an effort to better understand the mission of his two brothers Capt. Isaac Rademacher a decorated West Point graduate serving his third tour and Sgt. Joe Rademacher a Ranger combat vet and army sniper in the 82nd Airborne. “I very much wanted to make it about the guys ” says Rademacher who calls his movie “a window into the experience.” Rademacher says he tried to get one of the major television networks to fund him but he laughs “They seemed to be nervous about the idea of a first-time filmmaker in a war zone.” The bulk of the early funding for the project came from eighteen small business owners in his hometown of Decatur Illinois. The movie which has received standing ovations and praise from military families across the country also offers a close-up glimpse of war’s personal impact on the American family from a brother’s point of view. As Ebert suggested in his review the politics of the wars in Iraq or Afghanistan – or any other war – are essentially not a part of this movie. For Rademacher this was partly a conscious decision but also reflects the nature of soldiers. The soldiers themselves tend to be very pragmatic. Their political views in general seemed to him to be mixed he believes and in his opinion often depend on the particular job they have in the war effort. The documentary was shot in Iraq from 2005-2006. Rademacher led a three-person production crew each armed with a Sony HVR-Z1U HDV camcorder. Given unprecedented access to U.S. and Iraqi combat units Rademacher takes the audience on reconnaissance patrols on the Syrian border into sniper “hide sites” in the Sunni Triangle and through raging machine gun battles with the Iraqi Army. 
 Rademacher used DigitalMaster Tape Sony’s 6mm videotape which is recommended for professional HDV recording applications. “We were encouraged to use this tape stock and I’m glad we did ” Rademacher says. “We shot much of it in unforgiving 120-degree desert heat. Even with the added vibrations of Humvees or quick movements in Cordon searches it proved to be very reliable and stable with no errors or dropouts.” 
                        Rademacher shot more than a thousand hours of tape. After shooting ended he didn’t know how it would weave together. “I had an outline going into the footage ” he says but he acknowledges that the personal nature of the project meant he couldn’t be as dispassionate as his editor. As an example it was the editor who saw the inherent conflict growing between Jake and his younger brother Joe which is a central part of the story. As always happens Rademacher says there is amazing footage that is not in the finished movie. “They will make amazing DVD extras ” he says. Rademacher says the post process was a lengthy one. He made both film and DCI-compliant digital release prints. Brothers at War has already opened in more than 41 cities this year with a number of special screenings on military bases. Norman S. Powell (24) and Jake Rademacher produced the movie; Gary Sinise and David Scantling served as executive producers. It will also open at additional locations in coming weeks including White Plains New York and Springfield Illinois near the Rademacher family home in Decatur Illinois.
            “Jake’s movie is a great cinematic accomplishment that we’re proud to be associated with ” says Leslie Franklin manager of Sony’s Professional Media business. “DigitalMaster tape was designed for this type of project where the footage is captured is in a real-life situation and there is no second chance to re-shoot a scene.”

 Brothers at War Sony Professional Media ,949
Disney Plans 3D Whistle Stop,2009-05-13,Disney is planning an immersive and interactive 40-city train tour including a 3D sneak peek of film footage from the upcoming movie Disney’s A Christmas Carol. ,951
Zen and the Art of Screenwriting,2009-05-13,By Donald L. Vasicek What is your definition of Zen? Think it might differ a bit from your neighbor’s? Possibly. How do you define art? The same here? What about your definition of screenwriting? Do you feel any differently about defining this term than the other two? The fine point of defining these words is the same as how each one of us interprets life. Because we are unique each made up of contrasted bones muscles nerves organs background and etcetera we can’t help but have distinct ideas about what these words mean. In order to understand screenwriting the screenwriter needs to understand that each one of us is unique. Therefore our interpretation of how to write screenplays is just as valid as the snippy producer in Hollywood who thinks he has a copyright on how to write screenplays. There are certain industry rules to follow when writing a screenplay. Most of them are not inscribed in stone. They aren’t imprinted anywhere because no one knows for certain what works and what doesn’t work when writing screenplays. This is one reason why how to write screenplays has become a multi-million dollar business. Books seminars classes workshops film festivals lectures audio tapes video tapes web sites and etcetera lobby that their approach is the unbending way to write screenplays. It works for some screenwriters. It does not work for others. Do you know why? Zen and art. According to Merriam-Webster Zen in part “...emphasizes enlightenment by means of meditation and direct intuitive insights...” Does this definition tell you anything about how designated you are compared to others? How many other people do you think have the direct intuitive insights that you have? If I were asked that question about myself I would say no one. And art again thanks to Merriam-Webster art in part is “...the quality production expression or realm of what is beautiful or of more than ordinary significance...” Can you tell me what is beautiful? I think a hippopotamus is beautiful. Do you? What do you think is of more than ordinary significance? I believe Panther our 17 year-old tomcat with shiny black hair and moss green irises that change to an ellipitical form depending upon how the light strikes them is of more than ordinary significance? Do you? The fine point of Zen art and screenwriting is that the ambiguity of these words is deceptive because of their subjectivity. What you perceive Zen art and screenwriting to be might be totally opposite of what I interpret them to be. That does not mean you are right and I am wrong anymore than it means I am right and you are wrong. It is the same activity as watching a movie. You walk out of the theater blown away by what you just saw. You tell others about it. Many of them perhaps some of them or possibly a few of them disagree with you. They think the movie stunk. What it means is that writing screenplays requires the screenwriter to have supreme confidence when they are writing their screenplays. It is important to keep your mind open but what you are writing when you write a screenplay is coming from inside of you. It belongs to you. You own it. You do not give any of it up to anyone else. Let others disagree. Listen to them. Hear what they are saying to you about your screenplays. Then you decide what to incorporate into your screenplays based on what others have said and what not to incorporate. You be the final judge. Never allow anyone else to be. How do we write screenplays with this kind of conviction? The answer is to ask yourself why do you write screenplays? For fame and fortune? For a deep inner experience? For amusement? For diversion? To see if you can? Because it’s a challenge? Do you know why you write screenplays? If you have an idea but are not sure; or if you’re confused; or if you have no idea then take a moment to look inside of yourself. Those of you who know why you write screenplays might want to read on anyway. You might pick up something that you dropped or need to supplement what you do know. The approach to take to get a solid answer to this question is to understand that the human being is driven to execute because of passion (the emotions as distinguished from reason thanks again Merriam-Webster). By understanding passion you will be able to write screenplays that everyone will want to read regardless of your reason for writing screenplays. Author’s Credits Donald L. Vasicek studied producing directing and line producing at the Hollywood Film Institute under the acclaimed Dov Simen’s and at Robert Redford’s Sundance Institute. He studied screenwriting at The Complete Screenplay with Sally Merlin (White Squall). He has taught mentored and is a script consultant for over 400 writers directors producers actors and production companies and has also acted in 20th Century Fox’s Die Hard With a Vengeance NBC’s Mystery of Flight 1501 ABC’s Father Dowling starring Thomas Bosley and Red-Handed Production’s Summer Reunion. These activities have resulted in Don’s involvement in more than 100 movies during the past 23 years from major studios to independent films including MGM’s $56 million Warriors of Virtue Paramount Classics Racing Lucifer and American Pictures The Lost Heart among others. Vasicek has also has written and published over 500 books short stories and articles. His books include How To Write Sell and Get Your Screenplays Produced and The Write Focus. Donald L. Vasicek Olympus Films+ LLC Writing/Filmmaking/Consulting [email protected] ,952
Rapid Response,2009-05-13, Christie Opens New Facility to Support Customers Nationwide Christie has opened its new managed services network operations center in Cypress California. Addressing the growth of digital cinema and on-screen advertising the facility’s features have expanded and upgraded capacity to monitor maintain and service tens of thousands of digital projectors and related devices across the U.S. and Canada on a 24/7 year-round basis.   It also offers greater capability to handle devices from post-production to large group training centers and control rooms.  
Christie Managed Services currently provides round-the-clock monitoring of 32 431 devices including 3 780 digital cinema screens and 4 700 pre-show advertising screens in over 830 sites across North America.  It is staffed with over 180 remote and customer service personnel and field technicians who respond rapidly to service issues including configuration management and field repairs. At the heart of the new NOC is the command center dominated by a Christie videowall with 2x4 80-inch Christie DLP projection cubes (SXGA+ resolution).  In addition to the command center additional facilities are designed for meetings and specialized training sessions where customers can receive authorized certification as well as hands-on and installation training.    
 With built-in scalability and redundancy the NOC can monitor a myriad of devices remotely including digital cinema projectors screens retail signs servers hardware and peripherals.  It can also quickly expand as necessary to meet increased demands with the addition of monitoring and technical support personnel. Early customers are already pleased with the facility.
 “The new Christie NOC offers greater reliability greater performance and greater customer security for all digital devices ” says Sean James vice-president managed services at Christie. “With the NOC as a hub and Christie’s distributed architecture as a platform there is no practical limit to the number of screens and customers that can be supported on both the national and international level.”
 Carmike Cinemas projectionist Mike Durham who is directly impacted by the reliability of the equipment as head projectionist at Carmike 12 in Dothan Alabama is an enthusiastic supporter of the Christie NOC.  He considers NOC technicians “invaluable” and praises their rapid response and expert assistance. 
“You truly have a great crew there ” he says.  “They never fail to quickly return calls and help me as much as possible.  When needed they are quick to visit and make repairs and adjustments as needed.  Even more important they always take the extra time to educate me on the equipment and procedures allowing me to perform my job better and consequently be more valuable to my boss. In a time when good service seems to be at a premium it’s nice to know that there is still a business that strives to show this kind of professionalism.”
 Frank Rimkus CEO of Galaxy Theatres Gig Harbor Washington recently installed Christie digital cinema projection systems in all of the ten screens at the complex and selected the comprehensive suite of Christie Managed Services to monitor and maintain them.  
He considers the Christie projectors the “technological cornerstones” of his theaters.  “They transformed our theaters into cutting-edge multi-media presentation facilities ” says Rimkus. “Christie Managed Services is one of our most valued assets because it provides us with complete peace of mind when it comes to our equipment. We can concentrate on delivering quality content and excellent customer service to our patrons.  All of our digital devices are closely monitored and maintained at optimum operating conditions with Christie technicians responding quickly to resolve any issues.”
 “The significant expansion of Christie Managed Services Network Operations Center confirms our solid commitment to the future of digital technology ” says Jack Kline president and COO Christie.  “The NOC reflects our ongoing investment to meet the needs of our customers and our pledge to provide the highest level of technical support to ensure our customers’ success.  Christie draws on 80 years of experience working with Fortune 1 000 companies and our Managed Services business is the first and largest in the digital cinema arena offering the most comprehensive suite of support services.”
 Christie Digital Systems ,956
Expedition Grizzly,2009-05-13, New Documentary Chronicles the Life of Yellowstone’s Bears In April 2008 Grizzly Creek Films executive producers Leslie M. Gaines Mailande Becker Holland and Thomas Winston began recording the activities of the grizzly bears of Yellowstone National Park for a one-hour documentary for the National Geographic Channel. On location the crew paired a Panasonic AG-HPX500 P2 HD camcorder with a Fujinon HA42x13.5BERD lens as well as a Panasonic AJ-HPX3000 P2 HD camcorder with a Fujinon HA13X4.5 wide-angle lens for special segments. Aerial director of photography Gary J. Kauffman of Omniscience High Definition Video who used a gimbal-stabilized Sony HDC-F950 camera outfitted with a Fujinon HA42x9.7 lens shot aerial footage. Winston and fellow producer Gaines decided to combine the HPX500 and HVX200 both cameras they had used together on previous productions.  The HVX200 was used for the verité footage of Casey and the HPX500 utilized for the long lens and more classic natural history footage. “The P2 solid-state acquisition format is a huge plus when shooting in the extreme conditions in and around Yellowstone and the cameras could be easily configured to match looks in an A/B camera set-up ” said Winston.  In order to maximize P2 card capacity in the field the production was shot at 720/24pN.
“We chose the HPX500 for various reasons. First and foremost it accepts the 2/3-inch ENG HD long lenses necessary for filming the bears at a safe distance for the crew and to avoid disrupting the animals ” Winston says. “The camera’s ability to ‘over-crank’ at 60fps is likewise a must for high-end natural history footage.” Second cameraman Rick Smith operated the HVX200 following Casey hand-held and recording sound directly to camera.  “This camera is perfect for quick run-and-gun shooting when things happen in a split second in the field ” says Smith. “When your subject is a wild grizzly the ability to move silently and at a moment’s notice is paramount.  There are no second takes and you just can’t direct the bears.”
 The special Expedition Grizzly featuring Casey Anderson aired earlier this month. It chronicles renowned naturalist Casey Anderson’s year long odyssey to shed light on Yellowstone’s population of about 600 grizzlies. 
With a subject as difficult to locate and document as wild grizzly bears lens selection was critical for this project according to Winston. “The Yellowstone grizzlies are quick to retreat at the first sign of human intrusion so we had to have the longest and sharpest lens available ” he says. ”The Fujinon 42X allowed us to shoot from a distance without affecting the behavior of the bears. The lens’ built-in OS-Tech image stabilization system removed any unwanted movement which can arise during unstable long shots.”
  In order to simultaneously capture both the natural history of the Yellowstone grizzly and Anderson’s on-camera analysis and reactions the crew devised a two-camera strategy that integrated handheld verité footage of Anderson tracking and observing the bears with more traditional natural history footage of the grizzlies. A Panasonic AG-HVX200 was used for the footage of Anderson while the HPX500 equipped with the Fujinon lens was used to capture the natural history footage. 
  Conditions were often far from ideal during production. The equipment was exposed to spring blizzards and high elevations throughout the shoot. Winston says the Fujinon lens performed in all conditions delivering pristine HD images. 
“Audiences have come to expect extraordinary sequences of the animals’ behavior. Outfitting our cameras with Fujinon lenses gave us stunning pictures ” says Winston. “We were thrilled at the picture quality when we first began shooting with an HPX3000 and a Fujinon wide angle lens last fall. The true 1080p picture on the new AVC-Intra codec paired with the ultra-sharp Fujinon glass produced stellar results. We also found the lightweight lenses performed well in low and changing light conditions.”
 A Fujinon HA13X4.5 wide-angle lens mounted on the HPX3000 was also used to shoot special video segments the crew dubbed Brutus Breakouts. Shot with a Panasonic HPX3000 mounted on a CamMate Systems crane manned by veteran operator Tony Haman the segments include up-close footage of Brutus a six-year-old 800-pound grizzly raised by Anderson since birth and therefore comfortable around people. Juxtaposed with HD footage filmed in some of Yellowstone’s most treacherous beautiful and remote terrain the breakout segments allowed the filmmakers a safe way to capture grizzly bear behavior. 
  For example after watching the bears turn over boulders to feast upon insects beneath it from a distance in the field the viewer is brought to within inches of Brutus’ massive bulk as he repeats the same behavior for a food reward hidden below the rock. The Fujinon lenses were a critical part of staging those segments.
“The Brutus Breakouts are a unique feature of this documentary ” Winston says. “They were used to re-create what wild grizzlies naturally do with Brutus. Even with all the added safety precautions we were able to get within a foot of Brutus’ face thereby further engaging the viewer.” Grizzly Creek Films developed the project while making a series of short interactive informational films (shot with the HPX500) about grizzly bear awareness for the Draper Museum of Natural History at the Buffalo Bill Historical Center in Cody Wyoming. That project featured Casey and Brutus to illustrate proper behavior by visitors when recreating in and around Yellowstone National Park. After observing the remarkable relationship between man and bear as well as Casey’s in-depth knowledge of the Yellowstone grizzly population Grizzly Creek Films pitched a 60-minute HD special entitled Casey & Brutus at the 2007 Jackson Hole Wildlife Film Festival.  The show was picked up by the NGC and moved into production in April of last year to coincide with the bears emerging from hibernation. “The biggest challenge we faced going into production was figuring out how to simultaneously capture the natural history of the Yellowstone Grizzly and Anderson’s on-camera analysis and reactions ” says Winston. “Unlike the grizzly bears often photographed in Alaska or along the roadside in Yellowstone National Park the wild Yellowstone bears can be very difficult to locate and document because they are quick to retreat at the first sign of human intrusion.” Expedition Grizzly featuring Casey Anderson is structured to follow Casey into the Yellowstone Grizzly’s habitat and observe the bears’ seasonal behaviors from digging up voles and ground squirrels in early spring to feeding on the Army Cutworm Moth at an altitude of 12 000-13 000 feet in late summer.  For each section shot in the backcountry there is a corresponding segment featuring Casey and Brutus working together hands on to illustrate the unique anatomy physiology and behavior of these imposing animals.   For example after watching the bears dig up voles from a distance in the field the viewer is brought to within inches of Brutus’ massive claws as he digs for a food reward hidden three feet underground.
  “The fluid story dictated the need for a small and nimble camera in tandem with the larger format 2/3-inch HPX500 especially considering that Casey Rick and I were hauling two-camera packages into the backcountry along with our personal gear and equipment ” says Winston.  “We worked with a local Bozeman backpack manufacturer Mystery Ranch to develop a custom pack set-up that allowed both cameras to be up-and-running within a minute of locating a bear in the field.  The packs were crucial for protecting the cameras and tripods from being beat up on long hikes in harsh weather from snow to rain to blowing dust. For the up-close segments with Casey and Brutus the two cameras were again used to their respective strengths.  The majority of the stand-ups that feature Casey were shot with the HPX500; the HVX200 was used for more innovative POV perspectives.  For instance we modified an Army Surplus Ammo Box to house the HVX200 in a safe enclosure buried underground which Brutus reveals while digging for voles: we call it our vole cam.” “Our P2 HD camera systems achieved results better than imagined at the outset of the program ” Winston says. “The production was able to mix the dynamic elements of a presenter-driven program like The Crocodile Hunter with the breathtaking footage of a classic natural history program like Planet Earth.” In the field footage was downloaded and backed-up onto 1TB FireWire 800 drives from Maxx Digital.  “Maxx Digital makes drive housing and padded cases that are ideal for carrying in a backpack or throwing on a pack mule ” Winston says. “Upon returning to our edit suite in Bozeman all P2 offloads were permanently backed-up up to tape on a Quantum LTO-3 deck and the footage from the drives was logged and transferred into Final Cut Pro 6 for the edit.”  
 “Our HPX500 and HVX200 camcorders and accessories as well as the LTO deck were purchased from Omega Broadcast in Austin Texas ” he says.  “Consultation by the expert team at Omega Broadcast has been critical to the development of Grizzly Creek Films’ tapeless workflow from the field to post. “ 
 The color correction and final HD output were done at Digital Arts in New York.  Colorist Axel Ericson used Apple’s Color software.
 Fujinon Grizzly Creek Films Panasonic Broadcast & Television ,957
Shape of Things to Come,2009-05-13,The ETC@USC Explores a Range of 3D Consumer Technologies By Carolyn Giardina The living room of the future may come complete with 3D consumer electronics technology including a 3D TV 3D computer monitor 3D webcam and assorted 3D glasses.  A vision of what this may look like is nestled in downtown Los Angeles at the Entertainment Technology Center at USC. The nonprofit ETC@USC has opened a first-of-its-kind 3D Experience Lab. In doing so it is helping to shape the potential future of 3D creating a dialogue amongst those who create and distribute content as well as by providing customer feedback. Of the vibrant workspace ETC CEO and Executive Director David Wertheimer says: “On any given day you’ll see students looking at technology that they have only read or hear about providing industry feedback on the user experience. You’ll see creative people—filmmakers—looking at new technology for displaying their work and exploring how the technology shapes the content experience. And you’ll see executives from movie studios sitting next to executives from consumer electronics companies talking about what are the problems that need to be solved.” Humans perceive “depth ” or three dimensions by assimilating a variety of visual cues. The most important of these is the perception of a differential between two slightly offset images when viewed by each of two eyes. By presenting each eye with a slightly offset/different image a projection system or display can create the illusion of depth or 3D. The Hollywood film business experienced its first 3D boom in the early ’50s during which 45 titles were made including Kiss Me Kate Hondo Dial M For Murder and Creature from the Black Lagoon. But it didn’t have staying power as a variety of factors combined to generate 3D that for many viewers was uncomfortable to watch.  Similar factors stalled a 3D resurgence in the ‘80s which saw production of titles such as Jaws 3D. In recent years theater owners began replacing film projectors with those that are digital. The precision of these projections systems enabled innovation in 3D virtually eliminating many of the challenges of the past and sparking the latest push for 3D. Since 2004 and Disney’s groundbreaking Chicken Little several major films opened in digital 3D including Meet the Robinsons Beowulf and Journey to the Center of the Earth. In 2009 more than a dozen 3-D movies are slated for release and many more are in production. Explains ETC’s Phil Lelyveld “The recent increase in theatrical 3D releases has proven to be extremely popular among consumers and so it only makes sense for the creative industries to team with product and service providers to develop ways to move that experience into other environments enabling the consumer to enjoy 3D experiences anytime and anywhere.” To that end the NBA NFL NASCAR and other sports organizations--as well as broadcasters such as Fox Sports in the US and Sky in the UK – have already been involved in 3D tests. At the same time technologies for displaying 3D in the home have entered the market. This is a pivotal time that will shape the potential future of the 3D industry. Therefore there is a pressing need for experimentation education communication and innovation. With this in mind the ETC@USC has been working tirelessly to bring the community together and lead communication education and research initiatives while collaborating with and supporting standards setting bodies and stakeholder organizations. The latest initiative is the opening of the new Consumer 3D Experience Lab. Perhaps the most extensive home 3D test setting in the world the lab offers a uniquely neutral setting for comparative technology assessment. The lab already boasts many emerging technologies for 3D in the home including 3D TVs as well as computer monitors and related technologies such as a 3D webcam. It also showcases all types of 3D glasses. The uses of this lab are many: It is designed to support research and testing from manufacturers and standards setting bodies. It is also designed for student research and exploration. A mock living room is available for focus groups and a new 103-inch screen and digital projection room allows participants to compare the widest possible variety of displays and screen sizes. “Because we’re focused on 3D outside of the cinema we call it the Consumer 3D Experience Lab – not the Home Experience Lab because the home is only one aspect of the potential of 3D ” Wertheimer says. “The applications extend from mobile devices to computer screens to Digital TVs. That said we need to continue to work as a creative and technical community to realize the full potential of consumer 3D.” The Consumer 3D Experience Lab is designed for expansion and all product and service providers are being invited to exhibit their technology in this neutral setting. As an example today five different types of 3D displays are displayed in the lab: Active Shutter — This technology uses electronic glasses that open and close in front of each eye in sequence with the different images on the screen.  The switch in images is done at a high enough speed that it is undetectable to the human eye.   Polarizing displays — In this technology images for both eyes are presented on the screen simultaneously and glasses worn by the viewer filter the images ensuring the viewer sees a different image in each eye. Spectral – These are the classic red/blue glasses as well as amber/green glasses. As with polarizing displays each eye sees a differently filtered image from a single screen image. Auto stereoscopic — This technology requires no glasses. Auto stereoscopic 3D technology provides the viewer’s eye with two separate images. However this technology requires that viewers be in a specific viewing area in order to view the content in 3D. Head Mounted Displays – These are glasses that contain small video screens one for each eye.  They are currently available for video games and virtual world experiences.  The next generation will include motion sensors for more realistic navigation through environments and semitransparent glasses for augmented reality and heads-up displays on top of the view of the real world. Emerging technologies will continue to be added to the 3D Experience Lab as ETC begins to explore further issues related to Consumer 3D. Today an estimated two million 3D-ready TV have entered the market. ETC@USC is planning a series of open houses designed to expose a wider range of consumers to the possibilities and questions surrounding 3D. Details will be available at ,966
NAB 2009: The Report,2009-05-13, 3D Topic #1 The main topics of any trade show are often the people and things that aren’t there or are just around the corner. This was certainly the case at the 2009 edition of the National Association of Broadcasters convention which was held last month in Las Vegas. There were fewer people there than in recent years 84 000 a drop of some twenty percent but most people saw that as a positive because waiting lines everywhere were noticeably shorter and the people who attended were serious about doing business. Red which didn’t exhibit for economic reasons still was a main topic and was a presence in numerous booths. As it has for the past two years stereoscopic 3D once again dominated most conversations and many exhibits at the show. The fact that progress has clearly been made in the ongoing development of 4K technology was discussed. And there was also the hologram. No technology event is successful without a glimpse of the future and NAB 2009 did not disappoint. Japan’s National Institute of Information and Communications Technology has developed a wireless communication system prototype for the dynamic spectrum sharing. In other words a hologram. Their stated goal is this: “With your finger you can move images appearing in the air that seem real although nothing is there.” Their prototype “Floating Touch Display ” which was in a nondescript booth in the middle of the audio hall had the following components as described in their promotional literature: “an optical device developed at NICT which is laid down horizontally; an infrared touch panel (without its glass face) placed above the optical device; and a flat LCD screen placed below the optical device. The floating image of the LCD screen appears in the plane of the touch panel where the user can 'touch' it. By sensing the position and movement of the fingers the floating image can be operated as if the user really touched it. Although there is no sensation of actual touch the resulting experience is compelling.” The demonstration was very rough; the technology to create the small dark image filled a room. But it was nevertheless exhilarating to see an object slightly larger than a golf ball converted into a realistic image floating in space. The NICT sees many possible uses for their display technology and they have a stated goal of creating a floating image size equivalent to a human body in three years. Business Down economies often lead companies to partner and merge with other companies as a way of maximizing their efforts. Silicon Imaging the developer of the award winning SI-2K Digital Cinema camera and Stereo 3D recording systems has named Burbank-based Band Pro Film and Digital to be its exclusive distributor in the United States and Latin America. “We’re very excited about our newest strategic partnership to expand our sales and service for the SI-2K Cinema Cameras ” says Ari Presler CEO of Silicon Imaging. “The recent success of the Oscar-winning Slumdog Millionaire has opened up new doors and increased demand for our digital acquisition technology. Band Pro will brings their wealth of experience outfitting digital cinema production equipment and will provide best-in-class technical support education and service to our growing base of TV and film production clients. Their Burbank and New York facilities are centrally located for access to studios and post production facilities leading the digital acquisition and file-based workflow transition.” The SI-2K camera system offers unprecedented image quality modularity and instant editing. It offers up to 11 f-stop dynamic range a Mini remote head for handheld or stereo-3D shooting and Iridas Speedgrade embedded for 3D-LUT and live green screen keying visualization. It records direct-to-disk in 12-bit uncompressed or encoded to CineformRAW AVI or Quicktime files. These files can be immediately placed on the Apple Final Cut timeline and edited with real-time playback without the need for format conversions or proxies.   According to Michael Bravin chief technologist at Band Pro The DigiPrimes and DigiZooms provide the SI-2K imager with a clean high contrast low flare image resulting in a spectacular picture and unequaled performance especially in low light levels and backlit scenes. “Band Pro has been a leader in bringing high end digital acquisition technology to the market and it was only natural for us to form a relationship with Silicon Imaging ” says Band Pro owner Amnon Band. “The new form of capture and workflow is the next big step in cine technology and Band Pro will as always put our usual high standards of technological and educational resources behind every SI-2K camera package.” Codex Digital announced that it has signed a reseller agreement with Media Distributors to sell Codex Digital’s range of HD 2K 3D 4K field recording products to production and post-production customers from its offices across the U.S. and will also integrate Codex systems into recently-launched archive and asset management systems. Under the terms of the agreement Media Distributors will also bundle Codex Digital high-resolution field recorders with its own remote post-production systems which are marketed under Media Distributor’s Rental Station banner. 
 “We have a tremendous level of interest in high-resolution image workflow from a growing number of clients and Codex Digital products have set a new benchmark for high-end media management ” says Richard Myerson president of Media Distributors. “Codex Digital complements our product and service strategy and is a key element in satisfying the most demanding high-resolution workflow needs for today’s film and video professionals.”
 “Media Distributors is a well-known well-respected service business with a vigorous attitude towards sales and the expertise to deliver genuine workflow benefits to customers in production and post ” says Codex Digital co-founder Paul Bamborough. “Like Codex they know that production won’t be forever on tape or film but more importantly they also know how to take digital production to new levels of ease speed and efficiency by removing the workflow roadblocks.” Avid unveiled a number of new integrations with third parties designed to give customers more infrastructure and format flexibility within their broadcast and post production workflows. Omneon Panasonic Sony and Red were among the companies that demonstrated new workflow integrations with Avid at the show.  The company says this collaborative development is part of the Avid’s ongoing commitment to provide open solutions that work with a majority of third-party formats plug-ins and technologies ultimately placing greater flexibility and choice in customers’ hands. Arri announced that it has entered into a Letter of Intent to develop and sell a new Texture Control software tool for digital intermediate and mastering facilities. Powered by Pixel Strings a GPU-based motion estimation engine developed by Cinnafilm this toolset adds interactive control of grain and noise levels to the creative palette. The software is designed to run on a dedicated workstation with Fibre Channel or Gbit Ethernet connections to a DI facility’s Storage Area Network (SAN) dramatically extending the capabilities of the DI suite. This software brings interactive manipulation of image texture to the DI process with motion-compensated grain and noise reduction technology. With the tool the cinematographer can now control image texture mixing and matching the grain of film and digital media in an integrated and fully visualized DI environment. “Arri is excited about the opportunity to bring these powerful interactive tools to the DI suite ” says Glenn Kennel chief technology officer for Arri. “This adds a new dimension to the colorist’s toolset.” “As an entrepreneur I am excited to introduce this product after nearly six years of very hard work. As an engineer and independent filmmaker I couldn’t dream of a better more established partner than Arri to bring this technology into the postproduction market ” says Lance Maurer CEO and founder of Cinnafilm. Cinnafilm and Digital Film Central a digital intermediate facility in Vancouver California originally developed this technology. As a film mastering facility DFC had developed a host of image processing applications over the years. This led to the development of ways to remove grain from film images while retaining detail. Their initial success with the service led to the opportunity to create a product and Cinnafilm provided the software development on the GPU-enabled Pixel Strings platform. “We needed a major industry player to help us take this to market. Since it’s about image quality Arri was the perfect partner ” says Curtis Staples CEO of Digital Film Central. Quantel and Spatial View announced that the companies have entered into a strategic partnership agreement the goal of which is to make it easier and more cost-effective for content creators of any size to accelerate 3D development projects. The first partnership project will be a plug-in that enables Stereo3D material produced on Quantel systems to be displayed on a wide variety of Spatial View devices including 3D displays computer screens and the iPhone 3G without the need for 3D glasses. Quantel's Stereo3D technology as used in movie productions such as Disney's Hannah Montana concert movie has enabled the industry to handle the post-production of live action high resolution Stereo3D media in manageable timescales. Spatial View is a developer of autostereoscopic 3D image processing and display technologies that enable glasses-free presentation of 3D-rich content for key markets including retail/POS digital signage professional design gaming entertainment and animation. Spatial View's latest product the Wazabee 3DeeShell enables 3D content to be viewed on the iPhone 3G glasses-free. We are pleased to partner with Quantel to enhance their leading content creation system with our advanced 3D display technology says Brad Casemore vice president of business development at Spatial View. With at least 14 3D films scheduled for release this year 40 expected to be released over the next three years and industry anticipation that 70 percent of film admissions will be in 3D by 2010 this timely partnership is set to benefit production studios as they ramp up these 3D productions. Additionally content creators will now have a 3D solution that can be viewed across multiple distribution platforms from display screens to the iPhone 3G. How Stereo3D gets delivered is a real issue for many of the people we are talking to says Steve Owen Quantel director of marketing. Spatial View provides an innovative range of solutions that both bypass and complement the traditional broadcast delivery chain. It's all about getting great stereo in front of as many people as possible as quickly as possible. Our partnership with Spatial View will help to achieve this and drive this exciting new business area. Technology – Production In the last Report we named what we thought were the Top Products of NAB 2009. To recap they included the Silicon Imaging SI-3D camera the Avid Media Composer and Symphony v3.5 editing package the JVC GD-463D10 3D monitor the Gefen AV Cinema Scaler Pro I and II and the Petrol Inflatable Airline Bag. Here are other technology highlights from the show. JVC unveiled the GY-HM100 camcorder the industry's first professional hand-held model to record files directly to solid state media in the native format of Apple's Final Cut Pro editing system allowing recorded material to be edited directly from solid state memory cards dramatically reducing the amount of time required to edit programs together. The GY-HM100 weighs 3.1 pounds and shooters will find the small size convenient for work in environments where larger cameras would be impractical while producing HD material. “The GY-HM100 will appeal to a broad segment of the market ” said Craig Yanagi manager marketing and brand strategy at JVC. “Because of its high picture quality – especially at 35Mbps – and under $4 000 price tag budget conscious producers will choose it as their primary camera. However JVC also sees a significant number of production companies and broadcasters who will use it as a secondary camera to complement their higher end gear.” The GY-HM100 records at 1080p 720p and 1080i on affordable and widely available SDHC Class 6 memory cards. It has three progressive scan CCDs a newly designed 1080p digital signal processor and JVC’s proprietary 35Mbps MPEG2 encoder. Additionally the GY-HM100 can record 720p (19/35Mbps) and 1080i (25Mbps) in SP mode. JVC worked very closely with Fujinon to develop a 10:1 Zoom HD Lens for the GY-HM100 which features three aspheric elements that produce less distortion ghosting and flare. A new electronic beam coating minimizes the stray light reflecting off the lens surfaces and further improves light transmission. A flip-in cover is integrated into the lens hood eliminating the need for an external cap. JVC wanted the GY-HM100 to be very easy to use so they added their patented Focus Assist yet retained the manual capabilities desired by professional shooters including the ability to set iris and shoot close-ups in the macro mode. The GY-HM100 boasts tapeless recording to dual SDHC Class 6 memory cards allowing up to 64GB of on board storage – enough for up to six hours of continuous HD recording. Workflow through post is streamlined by the GY-HM100 which incorporates JVC’s Native File Recording technology that stores video in the ready-to-edit format used by Apple’s Final Cut Pro. The “.mov” files created in-camera can be dragged onto the NLE timeline without conversion or rewrapping. The camera also stores files in the .MP4 format used by Sony's XDCAM EX compatible with all major non-linear editing systems. The GY-HM100 is immediately available with a suggested list price of $3 995. Another highlight for JVC was the GY-HM700 camera which records directly to inexpensive SDHC memory cards in the QuickTime (.MOV) format for Final Cut Pro and optionally to SxS media compatible with Sony's XDCam EX format. Recording in the editing system's native format eliminates the time-consuming transfer step and dramatically speeds up the post-production workflow a major breakthrough for JVC and the industry. Additionally the GY-HM700 includes a number of key technology innovations that result in significantly improved resolution in the camera's core components: CCD/optical block lens and viewfinder. “Our new generation of ProHD products brings together the most highly regarded and proven technologies in the industry and the GY-HM700 will have broad appeal ” says Yanagi. “It's an ideal camera for electronic news gathering documentary production or mainstream television production. Because of its extremely low media cost it will have special appeal on projects with high shooting ratios. A documentary producer will now be able to shoot hundreds of hours of footage on a single project without off-loading the material to a hard disk or other storage medium.” The GY-HM700 natively records the QuickTime file format used by Apple for Final Cut Pro. There is no need to convert or rewrap files prior to editing. Post-production can begin immediately after shooting. It is even possible to edit directly from the memory card. Since no transfer or re-encoding takes place first generation quality is always maintained. Additionally the GY-HM700 is the industry's first shoulder supported ENG camcorder to store files on inexpensive SDHC memory cards. The camera provides two memory card slots for a total of up to 64GB of on-board storage—enough for more than six hours of continuous HD recording. The camera automatically begins recording on the second card when the first card fills up. When the second card fills up the camera reverts to recording to the first card slot allowing for virtually unlimited recording time. JVC is offering the GY-HM700 in two basic configurations the GY-HM700U which records only on SDHC cards and the GY-HM700UXT which records to both SxS memory and SDHC cards simultaneously. The base model can be upgraded by adding the SxS adapter later. With the SxS adapter installed the camera can record in the XDCAM EX .MP4 format onto either or both SxS memory and SDHC memory.  It is also possible to split formats and record .MP4 to the SxS card while recording .MOV to the SDHC memory card. Having two copies instantaneously available provides more versatility in the field with the assurance of always having a back up. One of the big improvements featured with the GY-HM700 is the new LCOS viewfinder. With 1.22 megapixels it offers the highest resolution JVC has ever provided in a viewfinder.  This new all-digital viewfinder displays images with more than five times the resolution of typical color viewfinders. Its sturdy reinforced die-cast aluminum chassis and LED light source ensure years of trouble-free operation. JVC has also increased the size of the flip-out LCD monitor to 4.3 inches. This jumbo size monitor functions for recording playback clip management and menu operation. Menu operation is intuitive with a single disk outlined by an LED lamp. The GY-HM700 base model is immediately available with a Fujinon 17:1 lens and will be available with the Canon 14:1 in June 2009 at a manufacturer’s suggested price of $7 995. The GY-HM700UXT which includes the KA-MR100G SxS Media Recorder is available at a manufacturer’s suggested price of $8 995. JVC also demonstrated the prototype of its KY-F4000 real-time 4K camera. Live 60p images from the KY-F4000 were displayed on JVC’s new 56-inch LCD panel with 4K resolution. The camera features a single 1.25-inch CMOS image sensor of 3840 x 2160 pixels capable of producing live images with four times the resolution of full HD. Other 4K cameras on the market such as Red and Arri are primarily used for cinema applications which makes the KY-F4000 a better choice for applications that require live signal output. The KY-F4000 will be available in April 2010 priced under $200 000. OConnor announced an upgrade to its workhorse Ultimate 2575 Fluid Head the new D model. Improvements include ergonomic changes to controls and more pan-bar mounting points. The 2575D retains the counterbalance specifications and other characteristics that contributed to the popularity of its predecessor the C. Camera operators will find that the relocation of all controls on the platform to the operator's side (left) provide easier adjustment. The 2575D’s one-touch platform release lever allows for one finger or hand action to undo the safety catch and open the lever which speeds deployment and location changes in the field. All current 2575C accessories are interchangeable with the 2575D. Sony unveiled what it called the next generation of digital 24P technology the SRW-9000 HDCam SR camcorder. Designed for television commercial and motion picture production the new model combines the format’s image quality with the versatility of a one-piece camcorder. The full HD (1920 x 1080) resolution camcorder uses 2/3-inch CCDs with a 14-bit A/D converter and digital signal processing to capture up to 1080/60P images with a high level of detail. In standard configuration the camcorder is capable of 4:2:2 10-bit recording at 1080/23.98P 24P 25P 29.97P and 1080/50i/59.94i. It can also record 4:2:2 1080/50P/59.94P. “The HDCam SR format is proven in the most demanding digital cinematography applications ” says Rob Willox director of marketing Sony Electronics’ content creation group. “Applying that legacy into a compact one-piece body design adds more flexibility to location work and is more ‘Steadicam-friendly’ as a B-camera complement to the F23. This mobile and cost-effective acquisition tool can further expand the use of HDCam SR technology to a much broader audience.” A range of option cards is available for additional performance and features. The HKSR-9001 option board adds dual-link HD-SDI outputs and an extra AUX input port for connectivity to an external audio multiplexing device. A picture cache board (HKSR-9002) will allow the camcorder to capture and record images with variable speed (SR Motion capability) from 1 to 60 fps.  It also allows the camcorder to continuously record up to three seconds of video while the camcorder is in stand-by mode. When the record button is pushed the stored images are recorded to HDCam SR tape and the camcorder can continue recording in real time. With the optional HKSR-9003 RGB 4:4:4 processing board the camcorder offers full-bandwidth digital 4:4:4 high-definition RGB recording and output capability. The option also offers S-LOG Gamma which is essentially a “digital negative ” allowing users to flexibly tailor their images during post-production in the same way they would in a film-based workflow. The SRW-9000 HDCam SR camcorder is planned to be available in December with suggested list pricing to be announced. Sony also featured new additions to the XDCam HD422 Series of optical disc products. Designed for motion picture and TV episodic production and for ENG/EFP applications the new PDW-F800 CineAlta camcorder and PDW-F1600 deck expand the capabilities of the MPEG HD422 codec with both offering a frame rate of 23.98P natively in 1080 mode and multi-format recording flexibility as standard – including standard-definition recording to support legacy formats (MPEG IMX DVCam and 4:2:0 HD content). They also provide multi-format (1080i/720P) recording as well as HD/SD conversion and cross-conversion during playback between 1080i and 720P. “The HD422 version of XDCam technology responded to customers’ requests for features like 50Mbps recording and 2/3-inch CCDs ” says Wayne Zuchowski group-marketing manager for XDCam products at Sony Electronics. “These newest products offer cinematographers broadcasters and video professionals an expanded toolkit of digital production options.” The PDW-F800 adds variable frame rate recording for slow and quick motion capabilities also commonly known as over-cranking and under-cranking. This is a critical feature for cinematographers and directors of photography who need the flexibility of changing frame rates to create unique looks for their productions or to create special effects.  The ability to shoot at slower or faster frame rates than playback delivers high-quality motion effects. These effects can be played back and viewed in the camera so any creative adjustments can be made immediately on site. The camcorder uses three of Sony’s new 2/3-inch Power HAD FX progressive CCDs that can produce a resolution of 1920 by 1080 effective pixels. The camcorder also delivers four-channel 24-bit audio recording. An image inverter feature enables the camera to be used with cinema lens adaptors and a variety of gamma settings include HyperGamma and user-selectable gamma curves. A focus assist bar-graph display is visible on the camera’s viewfinder and users can record proxy data to USB removable media to make transferring data easier and faster especially in the field or on location between the camera and a PC or editing system for example. The PDW-F1600 XDCam HD422 recording deck builds upon the features of the PDW-HD1500 model and can be used for file-based recording in studio and field operations. A Gigabit Ethernet data drive can write any flash memory file format from any codec onto the optical disc media and files can then be previewed using a web browser transferred over IT networks and easily archived and accessed by multiple people simultaneously. The new deck adds an insert/assemble editing capability that allows it to operate as a recorder in a linear editing system – just like a conventional VTR. It delivers eight-channel 24-bit audio recording and has a dual optical pick-up for higher-speed file transfer. A 4.3-inch (viewable area measured diagonally) color LCD display and built-in speakers are incorporated and the unit can be battery-operated or used with AC and DC power sources. The PDW-F800 camcorder and PDW-F1600 deck are both expected to be available in June at suggested list prices of $41 990 for the PDW-F800 and $27 990 for the PDW-F1600. Panasonic announced it is developing a professional 3D full HD production system and exhibited concept models of the new system which included a twin-lens P2 professional camera recorder and a 3D-compatible high definition plasma display. Panasonic also announced that it has expanded its professional AVCCam line with the introduction of a more compact lighter handheld camcorder – the AG-HMC40. Weighing less than 2.2 pounds the new AVCCam camcorder offers full HD 3MOS imagers high-resolution 10.6-megapixal still photo capture 12X optical zoom and high-quality solid-state AVCHD recording on widely-available SD cards. The HMC40 is an AVCHD format based camcorder that uses MPEG-4 AVC/H.264 high profile encoding which provides a near doubling of bandwidth efficiency and improved video performance over the older MPEG-2 compression formats (e.g. HDV DVD etc.). The HMC40 produces 1920x1080 HD images and captures still images with 10.6-megapixel resolution directly onto the SD card as a JPEG image. The handheld offers a 12X optical zoom (includes 2X 5X 10X) and professional image functions like Dynamic Range Stretch that helps compensate for wide variations in lighting and a Cine-Like Gamma mode which gives recordings a more film-like aesthetic. The HD camcorder records in all four professional AVCCAM recording modes including the high-quality PH mode (average 21 Mbps/Max 24Mbps) the HA mode (approx.17 Mbps) the HG mode (approx.13 Mbps) and the extended recording HE mode (approx. 6 Mbps). It supports 1080/59.94i (in all modes) and 1080/29.97p 1080/23.98p native 720/59.94p 720/29.97p and 720/23.98p native (in PH mode only). Using just one 32GB SDHC memory card a user can record three hours of full resolution 1920x1080 video and audio in PH mode four hours at HA mode and 5.3 hours at HG mode. In the HE mode the camera can record up to 12 hours of 1440x1080 HD content – all on a single 32GB SDHC card. The HMC40 will be available in August at a suggested list price of $3 195. In what was one of the more jaw-dropping exhibits at NAB introduced what it calls the evolutionary next step in HDTV imaging: the HJ14ex4.3B wide-angle portable HDTV lens. With almost no perceptible wide-angle distortions the lens actually captures a wider vista than the normal eye can. The lens features a minimum focal length of 4.3mm and an angular field of view of 96.3 degrees at the wide end of the 16:9 HDTV aspect ratio. This optical performance is combined with a 14x zoom range reaching to 60mm (120mm with extender) which greatly expands creative options for the acquisition of crystal-clear and virtually distortion-free HDTV video images. “We believe the HJ14 to be the world’s widest-angle lens in the professional realm of 2/3-inch lenses ” says Larry Thorpe national marketing executive broadcast and communications division Canon U.S.A. “The HJ14 responds to many creative suggestions received over the years from HJ11 users worldwide. Canon applied its R&D efforts on the HJ14 in three ways. One was to make this new lens even wider while simultaneously making further reductions in chromatic aberrations and geometric distortion. The second was to increase its focal range. The third was to expand the contrast range and minimize optical artifacts caused by strong light sources. These are extremely challenging goals from a design point of view but Canon succeeded magnificently in all respects and preliminary user reports are tremendously encouraging. Demand for portable HDTV lenses for cameras with 2/3-inch imagers continues to increase year by year. Using its highly successful HJ11 as its starting point Canon has made a great lens even better with its new HJ14ex4.3B wide-angle portable HDTV lens.” “Based on our initial feedback from early users anticipation is quite high in the industry for this new-generation wide-angle portable HDTV lens ” Thorpe says. “I firmly believe that Canon’s new HJ14ex4.3B will set a new industry standard of optical excellence for wide long-zoom portable HD lens performance combined with unprecedented image clarity sharpness and operational advantages that will further enhance the HD video reproduction of the many superb new 2/3-inch cameras and camcorders that have recently entered into the marketplace.” Gamma & Density announced that its 3cP on-set color correction system for cinematographers has been upgraded with new capabilities and will be now be available in a number of different flavors each with a different set of features. 3cP has entered the field of Red One production and post-production workflow which makes the promise of .r3d camera raw file handling on-set color correction and on-set dailies generation a reality. Gamma & Density and Da Vinci Systems have established a way to exhchange color information via the ASC CDL and Red camera raw files. The company says that 3cP has been used on about 25 motion pictures and TV series. Petrol introduced the Petrol Red Bag (PRB-15) a camera carrier specifically designed to transport and protect the Red One digital camera. The Red Bag’s dual directional upside down zippers open smoothly for quick and easy access to the smartly designed interior. Inside a removable upper tray with detachable dividers provides the perfect place to stash the Red One’s essential accessories. Rugged nylon handgrips on either side of the tray allow for easy removal and carrying. Underneath the Red One fits comfortably in the bag’s lower padded compartment. When a panel is removed from the upper accessory tray the camera can be stored without disturbing the viewfinder. An adjustable nylon strap holds the camera firmly and safely in place. Four detachable padded dividers help secure the compartment’s contents and form pockets for additional storage. The PRB-15 comes equipped with a separate fabric sleeve to hold the Red One’s steel support rods. With the rods inside the sleeve stores neatly against the lower chamber’s middle divider. An external envelope-style pocket keeps important documents close at hand. Additional features include an internal envelope-style pocket of clear plastic mesh Petrol’s built-in smooth-gliding wheel and tote assembly Griplock interlocking top carrying handle and a padded shoulder strap. Petrol’s exclusive thermoformed panels of cold-molded laminate and injection-molded polypropylene legs safeguard the bottom of the bag from dirt or water. The exterior is constructed of black ballistic nylon and Cordura. The Petrol Red Bag (PRB-15) is available for $499. Petrol also introduced the Petrol PRC-RED-1 Raincover especially designed to provide environmental protection for a fully equipped Red One camera. Comprised extensively of clear polyurethane for maximum visibility the new transparent Raincover offers quick and easy access to all camera features. What’s more it is roomy enough to enable working with the camera’s high-resolution Red LCD monitor on board. Petrol’s smart one-piece design makes the PRC-Red-1 easy to install while shooting. The Petrol PRC-RED-1 Transparent Raincover is available now for $199. Sachtler debuted the artemis EFP HD SE camera stabilizing system designed to work with the Red One camera. The EFP HD SE was designed and engineered in Germany following the same philosophy as the entire artemis stabilizing line. Two key features of the system are the 15 Amp high capacity camera power supply and new Hot Swap technology. Because of these innovations the artemis EFP HD SE is well-suited for pairing with the Red One and other state-of-the-art HD cameras. In addition to the standard 3-pin camera power out 3-pin Aux power and 4-pin focus power out sockets there is an extra new camera power-out using the same Lemo 2B 6-pin socket and wiring scheme as the Red One. The new HiCap high capacity power supply allows the artemis EFP HD SE to handle 14V 15 Amps at 210 Watts without any problem. When the artemis EFP HD SE system is used with 14 Volts and up to 11 Amp / 154 Watts the voltage drop is less than four percent far superior to other brands of stabilizers. When shooting with the Red One camera using the Red Brick 140WH battery pack the operator is guaranteed maximum run time and optimum battery capacity. The voltage drop of this combination is less than four percent. Plus battery capacity data is displayed in the eyepiece of the Red One when a Red Brick or other battery supporting capacity data is used. The artemis EFP HD SE provides camera power Hot Swap technology made by Anton/Bauer. Users are free to change the batteries of the rig without rebooting the camera. The special circuit made by Anton/Bauer ensures easy and problem free hot swap procedures and is friendly to the batteries. Regardless of the camera used this Hot Swap capability can save valuable production time. The artemis EFP HD SE supports HD SDI video processing up to 4.5 GHz. Fully modular artemis is the only stabilizing system on the market offering such versatility. The HQ HD SDI video line allows the use of the Transvideo CineMonitor HD six-inch SBL. With a built-in waveform monitor a digital bubble and free adjustable frame-lines the operator has maximum control. The modular artemis EFP HD SE system includes the ACT 2 vest and ACT 2 spring arm. The ACT 2 vest features seven segments which can be freely positioned to provide the ideal fit for the operator's shoulder chest and hip areas. Decades of experience and a close working relationships with operators have helped us optimize carrying comfort at the body's most sensitive load-bearing points says Curt O. Schaller artemis developer and a long-time operator. Sachtler also introduced the Cine 7+7 HD fluid head. This 100mm system offers a host of cine-style features including a front pan bar. With a payload range of 4.4 to 48.5 pounds (2-22 kilograms) the new head aptly supports a variety of packages from HDV camcorders to full-sized cameras loaded with accessories. Yet at just 7.3 pounds (3.3 kilograms) the location-ready Cine 7+7 HD is one of the lightest weight heads in its class. The new Cine 7+7 HD fluid head is equipped with a convenient side load clamp for the camera plate. The 6-inch (150mm) wide displacement area of the camera plate offers the advantage of easy lateral loading of the head via the pre-mounted camera set-up. Busy operators will appreciate that the Cine 7+7 HD brake lever and swivel arm are uniquely engineered employing a dual compound molding procedure to promote a sure grip significantly minimizing the risk of slipping. The Cine 7+7 HD fluid head is suited for a variety of HDV HD and film productions. Thanks to a 16-step counterbalance and Sachtler multiple contact switching camera balancing is quick and safe. According to Robert Zierer product manager for Sachtler “The lightweight Cine 7+7 HD offers Sachtler-quality in the 100mm size. Thus it is an attractive alternative to 150mm heads when using smaller film and HD cameras.” The Cine 7+7 HD is available in five complete systems when matched with different types of tripods. Technology – Post-Production Doremi announced the introduction of its latest contribution in 3D technology with the new GXH-3D product.  This compact 3D encoder/decoder enables 2D equipment to work with 3D content.  The company says the GHX-3D is a simple economic way for post houses to expand their 3D capabilities with existing playback hardware. The GHX-3D encodes two separate left and right eye streams into a single 2D stream that can be recorded on a standard 2D tape machine or video server.  Then the single encoded stream is fed into the GHX-3D which will generate a 3D stream to feed a variety of 3D display devices.  The 3D stream is generated in several ways including two separate SDI links (left eye and right eye) one SDI HDMI or DVI stream using Side by Side Checkerboard and other standard 3D formats. Additionally in conjunction with Doremi’s Asset Manager software 3D content can be generated from image sequences to convert Doremi’s Nugget and V1-UHD hardware into 3D playback devices.  This creates options for live events theme parks museums and other presentation venues. Avid has qualified Apple Final Cut Pro editing systems to run on Avid Unity MediaNetwork and ISIS shared storage systems.  Post facilities broadcasters and other media content creation organizations using Final Cut Pro can now take advantage of the shared storage and collaborative workflow capabilities of Avid Unity and ISIS and benefit from simultaneously running Avid and Final Cut Pro editing solutions on the same shared storage system. These newly supported and tested workflows will enable customers to centralize storage on a single solution streamline operations and cost-effectively manage production workflows. Mark Overington vice president of video product management at Avid says “We’ve really stepped up our game to give customers more choice when it comes to building out best-of-breed fluid workflows that meet their specific business needs.  Today’s announcement is just one example of how Avid continues to make significant strides by extending the openness and interoperability of our applications and systems.”

Optimus a commercial production and post-production facility with offices in Chicago and Santa Monica is currently migrating 12 Symphony Nitris systems and 15 Media Composer Nitris DX systems that are configured to run Final Cut Pro via dual boot and connected on a 96TB Avid Unity ISIS system.  Previously Optimus’ Final Cut Pro systems used only local storage. “Having a centralized system where teams can share media regardless of which editing platforms they are using not only creates a smoother workflow for our editors but also frees our clients from having to choose technology over creative talent.  With ISIS producers don’t have issues trying to schedule a suite at a certain time to get access to an editor who prefers to work on a particular editing system because the media is accessible from anywhere within the facility ” says Knox McCormac director of operations at Optimus.  “ISIS is also very robust and easy to maintain so we do not have to worry about diminishing our clients experience as a result of technology limitations. Adding a new editing system re-allocating storage capacity or even repairing drives is transparent to editors and clients. ISIS allows our staff to keep the focus where it should be – on the project.” Edius 5.1 the latest version of the Grass Valley Edius multi-format/multi-resolution nonlinear editing software package now includes tighter integration with the Grass Valley Aurora digital production workflow as well as a variety of new features designed to help users improve productivity and get the most from their investment whether working in standard-definition or high-definition. Professional editors using the Aurora platform can now take advantage of the editing toolset found in Edius as well thanks to a new optional upgrade. This new functionality gives Aurora users the ability to utilize a MediaFrame database workflow import Aurora Edit EDLs into an Edius workstation edit or read MPEG Long-GOP VMF content export completed programs into multiple servers for playout view NRCS scripts and create an Aurora “Smart Bin” directly from the Edius user interface. “The Grass Valley Edius editing package has been very popular with customers due to its cost-effective toolset that provides users with the ability to create long-form projects with ease ” says Jeff Rosica senior vice president of Grass Valley. “These new features extend this ease of use into broader environments that make use of an expanded list of file types. We’re also making the new features of Edius 5.1 available to fast-paced news editing environments through our Aurora Edit system.” Edius 5.1 is available for the list price of $799 and is a free update for existing Edius 5 users. Grass Valley also introduced a new conform/render server that allows editors to be more productive when working in a K2 shared storage area network environment and using Grass Valley Aurora 7.0 and Edius 5.1 high-definition editing workstations. The new PC server is ideal for fast-paced multi-client production environments developing a wide variety of content from multiple SD and HD sources. The new Grass Valley Edius XRE (eXternal Rendering Engine) server comes as a turnkey system and lets editors request that a project created with Edius systems in an Aurora or K2 Production Storage environment be rendered automatically on a separate dedicated workstation while they go on to the next job. There’s no delay or tying up a valuable edit station while having to wait for that project to be rendered. Serving as a unique and powerful conform server the Edius XRE accepts the various full-resolution project elements and by selecting “XRE export” on the Edius timeline immediately and automatically creates finished files in the background while the editors go on to the next project. “The new Grass Valley Edius XRE server reduces the time-consuming step of having to wait for edits and effects to be rendered from a multi-format timeline into a single format ” says Rosica. “Our goal with all of our editing products is to make creative teams as productive as they can be. The Edius XRE server streamlines the multi-format editing process and allows professionals to gain more value from their Grass Valley editing systems.” The new Grass Valley Edius XRE server will be available in June 2009 and is priced at $15 000 Da Vinci Systems announced that Burbank California-based Modern VideoFilm has upgraded to the Resolve R-3D stereoscopic digital enhancement suite. With two Da Vinci R-3D systems Modern VideoFilm now has the capability to color grade nonlinear 3D files in real time a significant advantage for entering the rapidly expanding 3D entertainment market. Our upgrade to the Resolve R-3D system has allowed us to take a significant leap forward in the level of service we can provide says Mark Smirnoff president of Modern VideoFilm. We've benefited greatly from the speed and ease of use that R-3D offers us. Some of the new features in particular — such as the C.O.R.E. processing the 3D look-up tables and the ability to playout video live for video deliverables — have proven to be big time savers for our staff. The ability to color grade in real time in 3D with simultaneous left eye/right eye has been a significant benefit to both our colorists and customers. Modern VideoFilm has used the R-3D systems to complete work on three major feature films. The company plans to complete other projects on the R-3D this year as well. Da Vinci also announced that post-production house Rushes has integrated a da Vinci Splice 2K nonlinear color grading system into its Los Angeles-based facility. Splice 2K's direct integration with da Vinci's 2K Plus system enables Rushes to provide its customers with a nonlinear file-based workflow without compromising on the premium color grading for which the company is known. Splice's nonlinear workflow and the wide range of supported file formats give us a head start in anticipating and addressing the ongoing media evolution says Ron Kirk president of Rushes. The way that people want to access their entertainment — whether via gaming consoles the Internet or even mobile devices — is changing continually. Yet their expectations of quality are not. With Splice we're able to take a leap to the next level of color grading with a nonlinear data-based workflow that is adapted to the evolving media formats. We're confident that Splice will help us to provide a higher level of service to our existing clients while also providing us with a pathway to new customers and markets. It was a forward-thinking addition to our arsenal of tools. Rushes is a long-time leader in film-to-tape color correction. It's a natural evolution for the company to step into the next generation of nonlinear color grading says Dean Lyon Da Vinci's vice president of marketing. As their bridge to the future Splice extends the life and capabilities of Rushes' 2K Plus investment while also providing a clear upgrade path to our Resolve R-series. Digital Film Technology uneileved the Scanity film scanner which is designed to serve a variety of scanning applications including dailies feature film mastering archive and restoration short-form commercials as well as digital intermediate scanning. The Scanity 4K uses time delay integration line sensor technology. The system also features a precision roller gate that the company says is unique to the Scanity which is designed to offer unparalleled smooth and safe film handling even with fragile shrunken and legacy film stocks.  On 35mm 4-perf film Scanity offers 4K scanning at up to 15 fps
 Integrated and dedicated spatial image processing manages the scaling and formatting before the material is stored on local or centralized storage.  A local touch-screen and a dedicated workstation allow users to control the scanner perform image quality checks adjust a variety of technical settings and manage data within the attached local or SAN storage system.   “Our new Scanity offers a multitude of unique and first-to-market features that provide users with cutting edge technology that address the challenges that many facilities are facing ” says Stefan Kramper Digital Film Technology managing director.  “With its speed versatility stability and safe film handling users can improve their ROI enhance productivity and serve their markets with a solution that reproduces the pristine quality of film and image quality they require.” At the show DFT announced that Sony Pictures Technologies has committed to the Scanity for various data workflows.   “Our goal has been to identify a high quality efficient flexible and cost-effective solution that will offer us the ability to scan content once and support many workflows.  Scanity will help us facilitate the creative process and maximize the value of our content in a timely fashion ” says Chris Cookson president of Sony Pictures Technologies at Sony Pictures Entertainment. “We are delighted that Sony Pictures Technologies has shown its commitment to our new Scanity film scanner and we are confident that our scanning technology will provide a comprehensive range of options for streamlining their workflows “ says Kramper. Digital Video Systems showed several new features for its flagship product Clipster allowing for an extended range of applications in post-production film and broadcast markets. Among these is support for real-time workflows of Red material using special DVS hardware acceleration. DVS’s new real-time Red workflow is designed to dramatically accelerate post-production finishing. RAW data generated by the Red camera can be directly displayed edited in the timeline and played out in parallel in 4K. Bernhard Reitz head of product management at DVS says We have worked closely with Red to provide this revolutionary workflow with Clipster. By processing full quality 4K 12 bit Red material in real time with our hardware acceleration our customers can dramatically increase their productivity and flexibly organize their workflows and content. EditShare announced a technology partnership with Assimilate to combine EditShare’s shared storage solutions with Assimilate’s Scratch digital process system to enable real-time DPX and Red 4K workflows across DI and non-DI post-production equipment. For many years EditShare has been at the forefront of Network Attached Storage solutions for popular post-production tools from Adobe Apple Avid and more. With the introduction of digital cameras such as the Red One Digital 4K Camera providing stunning performance there is now a significant move toward DI workflows. The EditShare XStream is a key component in enabling DI production pipelines to be fully integrated and tapeless from acquisition to finishing says Andy Liebman CEO and founder EditShare. EditShare will guarantee the real-time performance and image quality while facilitating cross workflow media sharing with non-DI applications and systems freeing facilities from bringing work into digital and putting it back to tape. Scratch includes a rich tool set of cost-effective real-time post tools – conform construct color grading and finishing – which have made it a key enabler in the migration to digital intermediate pipelines by post-production houses for many years now. While Scratch is resolution independent it's ideal for tapeless workflows at digital 2K and 4K says Jeff Edson CEO Assimilate. Combined with EditShare Xstream DI storage users will experience a seamless extremely efficient workflow that can greatly increase productivity. Technology – Distribution & Display
 JVC unveiled a large full HD 3D LCD monitor for professional use. The GD-463D10 slated for release in July 2009 is 46-inch large and 1-1/2 inches (39mm) thin and uses JVC’s 3D visual engine to deliver a natural flicker-free visual experience.  JVC plans to produce 2 000 units of the GD-463D10 a year for the global market. 

The GD-463D10 provides flicker-free 3D images by adopting the Xpol polarizing filter method and battery-free passive-type circular polarizing filter glasses. Video input is compatible with industry standard line-by-line and side-by-side 3D formats. JVC’s unique 3D decoder circuit translates images into the optimal Xpol display format and demonstrates the ability to accommodate subtle gradations and shades of color.

 NAB was the first public appearance for Civolution since its spin-off from Philips last October. At the show Civolution featured its range of products designed for the forensic tracking of media assets in pre-release digital cinema PayTV and online together with its combined broadcast and internet media intelligence services and monetization solutions.
  “We are proud to be debuting as Civolution at NAB at a time when the media and entertainment industry is undergoing a profound transformation. Media assets are being distributed electronically and freely to all parts of the world and to date attempts to control them have proven difficult expensive and resulted in alienating consumers limiting access and destabilizing revenues ” says Alex Terpstra CEO of Civolution. “The industry now needs content identification technology and services which have evolved from the ‘tool of protection’ to become the ‘enabler of monetization’. Civolution’s portfolio enables innovative new business models that allow all players in the content value chain to collaborate and maximize the value of their media assets.”

 Civolution is already working with motion picture studios music labels news organizations network and syndicated TV programmers sports rights holders advertisers and corporate communicators to better manage and generate new revenues from their assets. Its technology product and service portfolio offers a new and comprehensive approach for content owners producers and distributors helping them to identify manage and monetize media assets.
At the heart of Civolution’s portfolio of products and services are the technologies of watermarking and fingerprinting. Typically watermarking and fingerprinting play complementary roles to suit a broad range of applications: forensic tracking anti-piracy copyright communication broadcast monitoring internet monitoring asset management content filtering internet site re-directing metadata linking targeted advertisement content monetization interactive triggering and much more. 
 Christie introduced what it says is the world’s first LED-based SXGA+ and WUXGA resolution projection display system purpose built for control room and videowall applications.  The new Christie Entero LED is a pioneering LED-illuminated 1-chip DLP product line. The LEDs are rated at more than 50 000 hours– over five years of dependable operation.  With no consumable components such as lamps filters or color wheels to replace the Christie Entero LED delivers the ultimate in uninterrupted 24/7 performance for exceptional reliability and low cost of ownership. 
   “The new Christie Entero line of LED-based rear projection modules has no equal in the industry for long life and dependability.  They are as close to ‘worry free’ as you can get in a videowall display solution ” says Jim Gavloski director of product management at Christie.  “It marks a major new development in reliable high-performance videowall solutions that are easier to maintain and more economical to operate.” 
 With 600 ANSI lumens of brightness the Christie Entero LED projection engine is capable of illuminating Christie’s 50-inch 67-inch and 72-inch display cube platforms.  In addition these cube platforms feature superior cross prism optical screen technology for higher brightness and wider angles of view. Sealed optics eliminate the need for dust filters while innovative heat pipe cooling technology minimizes audible noise.
  Arri Avid Band Pro Film & Digital Canon Christie Cinnafilm Civolution Codex Digital Digital Film Central Digital Film Technology Doremi EditShare Gamma & Density Grass Valley JVC NICT Panasonic Quantel Rushes Sachtler Sony Pictures Technologies Spatial View Vitec Group ,969
Digital 3D: An Overview,2009-05-14,By Andrew Robinson Managing Director Harkness Screens Digital projection has made single projector 3D solutions much cheaper and of a much higher quality than traditional film projector systems.  A single projector can be used.  All 3D systems rely on creating separate images for the right eye and left eye.  These are projected at very rapid rates typically at 144 frames per second (called triple flash giving 72 images to each eye per second).  Different technologies are used to create the separate right eye and left eye image streams. There are three principal technologies used for 3D systems in cinemas: Polarized light systems rely on light being polarized in different forms to create the right eye and left eye image. This can either be done by circular polarization or linear polarization or a combination of both. This technology is well established and has been used for a long time with film projection. It is used by Real D which is the most popular system used with digital projection in cinemas. Master Image also use a variation of this technology. Dolby use a system based on different wavelength triplets of visible light to create separate right eye/left eye images. This like the polarized light system is a passive system. So called active 3D systems use special eyewear with shutters to control the provision of separate images to the eyes. The eyewear is battery operated and controlled by an IR signal. Xpand use this technology. One feature of all 3D systems is that they absorb a very large amount of the light that is normally available from the projector in 2D mode.  The light loss is a result of having to create separate images for each eye which immediately loses 50 percent and there are further losses from the filters in the system.  Typically light losses of most single projector 3D systems are as much as 85 percent or even more compared to 2D mode. Polarized light systems require a screen that will maintain the polarization of the light when it is reflected.  So-called silver screens are used for this purpose. In fact these screens are coated with a special paint containing fine aluminium flakes. The usual white cinema screens are not suitable as they diffuse the light and change the polarization. The signal-to-noise (or extinction) ratio measures the amount of interference between the right eye and left eye images. Typically at least 120:1 extinction ratio on axis is required to maintain a good 3D image. The 3D image has a ghost image if the left eye image is partially received by the right eye. The other 3D technologies use white screens but because of the huge light loss screens with a high degree of gain are required for all screens except small sizes. Silver screens inherently have a high gain level (typically 2.4) so polarized light systems benefit from the intrinsic gain of the silver screen. The implication of this is that in most theatres it will be necessary to change the screen when installing any 3D system using a single projector. This will always have to be done with the polarized light system but often it will need to be done with other systems to achieve adequate brightness levels. Harkness Screens has recently introduced a 2.2 gain screen specifically for 3D systems that do not use polarized light but which will benefit from a higher gain level. Digital projectors using DLP technology can be used for 3D using a single projector. This means Christie Barco or NEC 2K projectors. Some DLP projectors using the 1.2-inch DMD cannot triple flash on the whole chip which reduces the light available in 3D mode. The 0.98-inch DMD used in smaller projectors does not have this limitation. Sony which uses a different digital technology has introduced a special dual lens version of its 4K projector to run 3D. Because of the huge light losses high power lamps will normally need to be used in the projectors; typically 6kw Xenon lamps although for smaller screens 4kw may be sufficient.   A 3D enabled server is required.  The Dolby 3D system requires a Dolby server to be installed.  Dolby has introduced a licensing program for other server makers subject to meeting their technical requirements. As theatres are not usually dedicated to run 3D movies all the time 2D movies will be run in the same theatre and on the same screen.  Regardless of the system being used the main implication is that the screen has a higher brightness level than is needed for 2D.  This means that the projector light output has to be reduced by changing the lamp or the current.  Also because of the high gain level the viewing angle on the screen is narrower and as a result the seats in the more extreme regions at the front of the theatre may see some variation in brightness.   It is recommended when deciding in which theatre to install a 3D system to choose auditoria that have a relatively long throw in relation to the screen width because this minimizes the consequences of the viewing angle effect of high gain screens. Theatres that have relatively short focal length lenses for 2D will contain more poor seats than longer throw theatres. Seats that are outside a viewing cone of 25-30-degree off screen axis are likely to suffer a poorer viewing experience. Screens for 3D viewing should be curved. This improves the light distribution. The recommended curve is 1:20 (depth/width). With a 6kw lamp in a digital projector and a screen gain of 1.8 or more it is possible to operate 3D on screens up to 45 feet with sufficient light levels.  Whereas for normal 2D viewing 14 feet lamberts is recognized as the norm for digital projection for 3D it is expected only to achieve 4.5 feet-lamberts and films are color graded accordingly.  Real D has an XL version of its system which can be used for screens over 60 feet. All 3D systems require eyewear. The polarized light systems can use low cost eyewear. This potentially makes them disposable although there are clearly green issues about disposing of large quantities of eyewear after every show. The Dolby system and the active eyewear systems require more expensive eyewear. These have to be collected cleaned and recycled between shows with the resultant implications for people and equipment. Active eyewear contains batteries which at some point need to be replaced and which potentially may fail. The failure rate is however very small.   Another factor in deciding which system is most appropriate is the financial terms that are offered by the technology provider.  There are various outright ownership or revenue sharing models.  Cost of eyewear also has to be taken into account.   ,978
Who Specifies Digital Cinema?,2009-05-14,By Michael Karagosian The film industry has relied on the stability of the 35mm platform for over 110 years.  Over this time frame rates have been altered picture size and (in some cases) compression varied a variety of sound formats were introduced but for the most part the dimensional width and perforation pitch of the film remained intact.  We take for granted that one can thread an older film in a projector and get image and sound.  This stability of technology was achieved without need for voluminous specifications and compliance testing.  We will miss those days. Film allowed innovation while retaining a fair degree of backwards compatibility.  A compressed image might require a different kind of lens to reproduce correctly but the core projector remained.  The flexibility of film allowed the innovation of sound to emerge an innovation that the creators of film technology had not envisioned.  Certainly they never envisioned digital sound tracks as we regularly distribute today.   This stability came without a lot of pain largely because the industry relied on dominant manufacturers to champion its standards.  In the industry’s early days Lumière and Edison set the norm.  In more recent times the industry looked to companies such as Dolby Laboratories to establish continuity for film sound.  If standards bodies were employed it was after the fact largely to memorialize the work performed.  The idea of dominant companies governing technology is not unique to the film industry though.  Consider the desktop computer where two manufacturers of incompatible operating systems dominate 99 percent of the market and where interoperability of software only exists within the domain of each of the dominant players. Digital cinema however brings with it a new era of extensibility not experienced with film.  No one company is responsible for developing this format.  The Society of Motion Pictures and Television Engineers or SMPTE to date has published 26 standards to describe the digital cinema format all produced by a committee that has over 300 registered members.  Some of these standards still have some polish to be applied and more standards are needed to bring full interoperability to digital cinema.  But standards are only one step in the process of documenting how things should work.  Specifications are needed.   It’s important to note that SMPTE is not a specifications body.  SMPTE can standardize competing technologies for instance and indeed in the case of 3D digital cinema it nearly did.  This is not unusual.  A majority of standards bodies operate in this fashion focusing on fair process over uniqueness and keeping the door open to innovation.  Specifications are needed to clearly identify which standards apply and which don’t.  This is why organizations such as the Blu-ray Disc Association exist.  While standards-based the Blu-ray disc needs to be backed by a strong specification to insure that all implementations use the same technologies. But even specifications don’t guarantee interoperability.  While specifications are necessary they are still relegated to paper.  When trying to determine interoperability it takes a test to determine if a product is good or if it’s broken.   It should be no surprise then that the effort required to achieve interoperability in the digital world far exceeds that needed to achieve interoperability in the mechanical world.  This is a tremendous distinction of digital cinema from film.  The high degree of complexity and flexibility in behaviors that are characteristic of digital technology more often than not interfere with interoperability.   Addressing the specification problem the major motion picture studios banded together as Digital Cinema Initiatives or DCI to generate the Digital Cinema System Specification a document over 150 pages.  It is backed by the DCI Compliance Test Plan which is over 550 pages.  The test plan describes the tests required to ensure compliance to the specification.  While many of the tests check for adherence to the specification they also test for the ability of products to accept content produced within an acceptable range of implementation.  Equally important testing with wrongly produced content is needed to learn if the product’s behavior conforms to the specification.  The combination of the specification and testing documents and the actual product testing that result from the test plan are important and necessary steps to insuring interoperability of digital cinema equipment.   We’re not out of the woods however.  While the DCI specification addresses a lot of things digital cinema it doesn’t address everything.  The audio formats described in SMPTE 429-2 for instance are not included in DCI.  Importantly 429-2 addresses hearing impaired and visually impaired narrative audio tracks.  DCI does not include 429-12 which addresses how closed caption files are to be delivered in the digital cinema package.  Issues such as the logistics of relaying the digital security certificates stored inside of servers and projectors to third party entities for the creation of movie security keys are not addressed.  How security keys themselves are relayed into theatres is not addressed.  It takes more than standards to ensure that such methods and procedures are implemented in an interoperable manner:  specifications and testing are needed too. Are these areas that DCI will address in its specification?  My bet is no.  The primary concern of DCI’s members is uniform delivery and security of content and this is largely achieved in their specification and test plan.  It’s time for the industry to step up to the plate.  But the question is who?  Without a dominant company that oversees this technology who will champion this work?   This is a key question that remains to be answered.  Even if certain companies agree to work together today to solve these problems in uniform ways it will take more than lip service to insure interoperability in the years to come.  In an industry that is accustomed to having “others” provide its technology leadership we’re about to learn that there isn’t an “other” to turn to.   Michael Karagosian is founder and president of MKPE Consulting LLC a Los Angeles-based consultancy in the entertainment industry.  Visit his company at ,979
Cutting to the Chase in Hollywood,2009-05-27,By Donald L. Vasicek In good flicks you’re always going to get the hook first.  Introduction.  Main character(s).  Bad guy(s) girl(s).   Main theme.  Main character’s inner conflict.  Main character’s outer conflict.  Inner conflict meaning emotional.  Outer conflict meaning something or someone in the material world is trying to take something away from the main character.  The dramatic premise of the story that will take place on the screen.  And all of this by about minute ten in the movie. That my friends is cutting to the chase in Hollywood.    And it should be all about images showing the story not images telling the story.  Film is a visual medium. The most artistic movies are movies that are faster than the human eye.  What the human eye misses the human mind gets.  This in turn exhibits a sub textual or subliminal context that darts to the human being’s subconscious.  Some say the human being’s subconscious or unconscious mind is a like a computer.  It takes in the data that comes to it stores it and then gives it to the conscious mind to utilize.  And this usually results in something in the movie coming to mind in the viewer’s mind several hours or several days later that the viewer may or may not have noticed the first time around.   In my produced film Born to Win the main character Justin Freeman 16 sets out to win $25 000 in a race he’s never been in before to save his Gramps’ life.  This is his outer conflict.  His inner conflict in the movie is to trust and the main theme of the movie.  His Ma died when he was small.  He reacted to it by losing trust in everything and everyone in his life except for is Gramps.   So when it comes time for him to trust someone else’s affection for him he has to defeat forces fighting him with his outer conflict and challenging him with his inner conflict.   The introduction shows a butterfly fluttering away from a headstone.  A metaphor for the movie.  Trust by letting go.  That’s also the hook in “Born to Win.”  Every scene has some semblance of trust of letting go in it.  One way or the other.  But it’s always there in good flicks and “Born to Win” is a good flick partially because it is well-written movie.  The dramatic premise of the story surfaces then and exhibits a boy who fights to defeat his outer conflict.    By equally defeating his inner conflict his outer conflict is conquered.  And this should be what some call the “black moment” in the story which is right before the ending.  A more commonly used term is the main character has an epiphany.  Without putting himself through this the main character fails to achieve his goal in the story (Justin’s in Born to Win is win a race he’s never been in before so that he can save his Gramps’ life the only person he’s able to emotionally interact with. So cutting to the chase in Hollywood simply put requires to skillfully show images that tell a story and in turn go into the human mind in a speed that can only be recognized by a select few the first time the images come into view.  The rest of us will “get it” in the next hours or days or weeks.  It’ll eventually come to us even it might take a bit of time with all of that speed. Author’s Credits Donald L. Vasicek studied producing directing and line producing at the Hollywood Film Institute under the acclaimed Dov Simen’s and at Robert Redford’s Sundance Institute. He studied screenwriting at The Complete Screenplay with Sally Merlin (White Squall). He has taught mentored and is a script consultant for over 400 writers directors producers actors and production companies and has also acted in 20th Century Fox’s Die Hard With a Vengeance NBC’s Mystery of Flight 1501 ABC’s Father Dowling starring Thomas Bosley and Red-Handed Production’s Summer Reunion. These activities have resulted in Don’s involvement in more than 100 movies during the past 23 years from major studios to independent films including MGM’s $56 million Warriors of Virtue Paramount Classics Racing Lucifer and American Pictures The Lost Heart among others. Vasicek has also has written and published over 500 books short stories and articles. His books include How To Write Sell and Get Your Screenplays Produced and The Write Focus. Donald L. Vasicek Olympus Films+ LLC Writing/Filmmaking/Consulting [email protected] ,988
Tight Spaces,2009-05-27, Graybow Gives Clear Channel Maximum Impact in a Limited Location A new advertising display from Clear Channel Interspace Airport is capturing the attention of travelers passing through Raleigh-Durham International Airport in North Carolina. Integrator Graybow Communications Group of Golden Valley Minnesota chose Electrosonic’s ImageStar HD multiscreen scalars and processors for their superior performance small form factor and dependability.   The slender stand-alone display is framed in stainless steel and runs 20 hours a day seven days a week.  It showcases still and video messages from Clear Channel Interspace Airport which sells advertising in more than 200 airports nationwide.
 “In digital signage today everyone is aiming for a big image in a small footprint: They want to be able to display a large visual while making the least amount of impact on the real estate in a busy terminal ” says Electrosonic sales consultant Pete Rajcula. “ImageStar HD offers an exceptional quality of magnification in a limited amount of space for a low cost.   For the airport two ImageStars have been joined together in a custom configuration to work as a videowall.”

The Raleigh-Durham International Airport installation is comprised of eight WVGA mullion-less Orion plasma screens in a two-by-four array.  A pair of ImageStar HD video processors divides the PC source into eight outputs for the imagery.  Mapping is done across the two ImageStars with one handling the top half of the display and the other the bottom half.

 Meeting the slim display’s need for a small footprint the video processors are housed in a single rack space each.  Their solid-state construction enables them to run indefinitely in the virtually round-the-clock application. ,989
Fear Factor,2009-05-27, I.E. Effects Adds Stereoscopic 3D to its Post Capabilities I.E. Effects Culver City California has announced that the company is now offering a complete post-production solution for stereoscopic projects.  We’ve been waiting for technology to get to the point where we could build a stereoscopic workflow that is manageable for today’s budgets says David Kenneth executive producer at I.E. Effects. We’ve worked very hard to simplify the process to the point where it’s not intimidating for our clients. We can now turn around 3D projects on a similar timeline to that of traditional 2D projects. We are removing the fear of going forward on 3D projects. The company which offers a complete range of services including visual effects editorial titles motion graphics digital intermediate and stereoscopic 3D post was founded by Kenneth in 2006 himself a veteran of such stereoscopic projects as Star Trek: The Experience – Borg Invasion 4D the immersive attraction at the Las Vegas Hilton. 

 Stereoscopic films for theatrical release can take advantage of I.E. Effects’ dual-stream 2K pipeline while they can also accommodate an HD stereoscopic workflow for TV and commercial projects. 

We work in stereoscopic 3D throughout the entire post pipeline says Kenneth. At any given moment if we need to check a shot or sequence whether it’s for VFX editorial color grading or all three – they’re all available in stereo. 

 While the results at the box office suggest that audience demand for 3D content is growing one of the biggest challenges facing producers right now is locating facilities with experienced stereo 3D artists. I.E. Effects has pulled together a team capable of handling almost any stereoscopic project.

 It was always our goal to design a studio that could provide all of these services together he says. We’ve provided visual effects and editorial for stereoscopic 3D projects in the past but now we can offer a full post and finishing solution to our clients.

 At I.E. Effects directors can review their projects on the same floor as the color grading editorial and visual effects suites. The company also offers a stereo screening room with a dual-projection system and a 14-foot screen. 

A director can simply accomplish more in a shorter period of time by staying at one location compared to the hassle of going from one facility to another to view shots Kenneth says. We feel it’s much more effective to have all the tools in a close proximity. Projects are always completed more efficiently when you can get instant feedback from the director. I.E. Effects ,990
All Aboard,2009-05-27,Disney Promotes Christmas Movie with a National Train Tour Disney is embarking on an immersive and interactive whistle stop train tour across the country to promote its upcoming 3D movie Disney’s A Christmas Carol. The event which started in Los Angeles over the Memorial Day weekend is free to the public. Set amidst a snowy backdrop—complete with all of the sights and sounds of Christmas including carolers decorations giveaways and many more surprises in each of the 40 cities—the Train Tour is being launched with HP on board as the title and technology sponsor and driven by Amtrak. Dolby Laboratories supplied its Dolby 3D Digital Cinema solution for the traveling Digital 3D theatre and Barco the DP2000 digital projectors. Panasonic provided the displays throughout the train cars. The movie which stars Jim Carrey and was directed by Academy Award-winning filmmaker Robert Zemeckis opens in theatres November 6 in Disney Digital 3D and in IMAX 3D. Disney studio chairman Dick Cook says “Disney’s A Christmas Carol Train Tour is an incredibly fun way to introduce families across the country to the wonders and spectacle that is Robert Zemeckis’ unique and spectacular new holiday film. We are so proud of the movie and think the 3D footage is so incredible we just had to give everyone a chance to see it in Disney Digital 3D. From Los Angeles to New York and all points in between guests are going to have a fabulous time discovering things about the making of this extraordinary film participating in their own festive fantasies and getting into the holiday spirit all year round. Disney’s A Christmas Carol is great entertainment for moviegoers of all ages and this is the perfect introduction to a fun and exciting new holiday classic.” Among the highlights of the tour are authentic artifacts on loan from the Charles Dickens Museum of London; artwork costumes and props from the film; demonstrations of performance capture technology; and a chance to morph your face into one of the film’s characters using HP computers. At each stop along the way a Disney Digital 3D Theatre will be erected where guests can get a sneak peek of Disney’s A Christmas Carol and see other exclusive behind-the-scenes materials from the movie. Featuring four custom-designed vintage rail cars full of behind-the-scenes attractions entertaining demonstrations and fun activities the tour will have its inaugural stop at Los Angeles’ Union Station over Memorial Day Weekend from May 22 through May 25. During the next 24 weeks the train will make 40 stops in 36 states as it travels its way across more than 16 000 miles of track. The tour will finish at New York’s Grand Central Terminal over the weekend of October 30 through November 1. At every tour stop Radio Disney will invite kids to enter for a chance to become a Movie Surfer representing their hometown. Each Hometown Movie Surfer will get a chance to appear on Disney Channel by filming their very own Movie Surfer’s segment. They’ll also receive a prize package of exclusive Movie Surfer and Disney’s A Christmas Carol gear. ABC television stations across the country will run local promotions. At each stop guests will have the chance to win an HP computer and printer. Additionally Disney is working with the Boys & Girls Clubs of America organization to provide an early Christmas experience to kids across the country. Disney presented the organization with a donation in the amount of $100 000 at the May 21st launch in Los Angeles to further the organization’s efforts of helping kids grow up to be great and will invite Boys & Girls Club kids to be part of the tour when it comes to their town. “For decades HP and Disney have joined together to captivate audiences through technology innovation and digital entertainment ” says Michael Mendenhall senior vice president and chief marketing officer HP. “HP technology used in the making of Disney’s A Christmas Carol has enabled Disney to push the boundaries in performance capture technology. The Train Tour offers an innovative way for guests to interact with HP’s latest technology and experience the magic behind the film.” Amtrak locomotives and engineers will lead the four-car Train Tour (plus a private car) across the US with stops ranging from one to three days along the way. Each train station will be themed with holiday decorations and feature artwork from the film Christmas Carolers fun activities for the entire family and snow! “Rail travel continues to influence the way people connect with each other and celebrating the release of a true classic is a perfect way to further that connection ” says Emmett Fremaux vice president marketing and product management Amtrak. “We couldn’t be more thrilled to be teaming up with Walt Disney Studios for this 40 city tour to help educate Americans about the benefit of rail travel.” The latest details about tour stops and scheduled events are available at ,993
3D Movie Making,2009-05-27,Stereoscopic Digital Cinema from Script to Screen By Bernard Mendiburu Digital Cinema Report is pleased to offer an exclusive excerpt from the new book 3D Movie Making: Stereoscopic Digital Cinema from Script to Screen by Bernard Mendiburu. Mendiburu is a stereographer and digital cinema consultant working with feature animation studios in Los Angeles where his credits include Meet The Robinsons and Monster vs Aliens. His lectures and workshops on 3D cinema were selected by Laïka (Coraline) and CalArt's Experimental Animation department. This year Mendiburu presented a paper on 3D Workflows at the SPIE Stereoscopic Display and Applications conference and at the NAB's Digital Cinema Summit and he will give the Dimension3 two days workshop on 3D Post Production. He is Senior 3D Cinema Analyst with Insight Media and was an active member of the SMPTE 3D Task Force. His latest works covers the artistic dimension of depth for the 3D@Home Consortium.   Click here to read an excerpt from the book. ,994
London Calling,2009-05-27,Empire Leicester Square First to Use Dolby’s New 3D System London’s Empire Leicester Square has become Europe’s first auditorium to utilize the new Dolby 3D Digital Cinema large screen system. The Empire installed the Dolby 3D system in time for the United Kingdom premiere of Walt Disney Pictures’ Jonas Brothers: The 3D Concert Experience. The movie premiered in front of an invited audience of more than 1 300 guests. With its 20-meter screen the Empire boasts one of the largest screens in the country. “We are delighted to be working with Dolby in what is a European first. We share the commitment to bring the finest image quality to the screen in ways that continue to add value to the cinema experience. When it came to hosting the Jonas Brothers 3D premiere the new Dolby 3D large screen solution seemed the ideal choice ” says Justin Ribbons chief executive officer Empire Cinemas Limited. “With the Dolby 3D large screen solution we can now show 3D to audiences in our largest auditorium at Leicester Square – Empire One—and provide a stunning experience for everyone in the audience. The new Dolby 3D large screen system combined with Barco’s digital cinema twin-projector allows exhibitors to project Dolby 3D onto standard non-silver screens ranging from 12.5 to 21 meters surpassing the previous size limit of 12 meters. The Empire Leicester Square one of the UK’s oldest and largest cinema venues regularly hosts movie premieres. Empire Cinemas operates 144 screens at 16 locations across the UK. Its flagship the Empire Leicester Square first opened its doors as a theatre in 1884 and from the earliest days of the moving image it played host to the technological advances of cinema. In March 1896 Louis and Auguste Lumiere gave the first theatrical performances of a projected film to a paying UK audience at the Empire assuring it a unique place in cinema history. The current six-screen theatre configuration has a seating capacity ranging from 26 to 1 330 seats. With a growing number of 3D movies scheduled for release in the next 12 months it is increasingly important that exhibitors have the flexibility to provide 3D in their largest auditoriums as well as on their other digitally equipped screens. The Dolby 3D Digital Cinema system also supports both 3D and 2D presentations without the need for a dedicated 3D auditorium providing even greater flexibility for exhibitors. Exhibitors have told us they want 3D without compromise and our new large screen solution provides the right amount of light and striking images for screen sizes reaching all the way up to 21 meters ” says Guy Hawley director international cinema sales Dolby Laboratories. “This allows venues like Empire Leicester Square to show 3D in their largest auditoriums to maximize revenues on 3D presentations. Without requiring a special silver screen Dolby’s color filter technology and lightweight passive Dolby 3D glasses give every member of the audience a memorable and mesmerizing 3D experience. The Dolby 3D system provides realistic full-spectrum color reproduction and extremely sharp images while the environmentally friendly glasses—designed for repeated use—significantly reduce the cost per viewing for exhibitors. Dolby Laboratories