The Los Angeles color correction boutique New Hat has completed the build-out of its million-dollar digital intermediate theatre opening the door to the full spectrum of feature film work. We opened our company in the face of a terrible recession and thankfully we've thrived says partner and digital colorist Bob Festa of the facility he co-founded with partner/executive producer Darby Walker last year. Being bold is part of our DNA I guess so we're inclined to stick with it. The company which is home to digital colorists Festa Beau Leon and Marcelo Aprile has brought on feature DI colorist Michael Mintz a veteran of more than 40 feature films collaborating with filmmakers such as Ridley Scott Paul W.S. Anderson and Michael Cuesta. The first project under way at the New Hat DI Theater is the indie feature Lucky directed by Gil Cates Jr. The film stars Colin Hanks Jeffrey Tambor and Ann-Margret. The announcement comes on the heels of recently completed New Hat color correction projects for Hyundai Toyota Lifestyles Condoms HBO Kings of Leon Chase Bank India.Ari C&A (featuring Fergie) the documentary Sister Corita the high-profile Brazilian feature O Bem Amado and a special film celebrating the Iacocca Silver 45th Anniversary Edition Ford Mustang. New Hat's recent credits also include digital color correction on two 2010 Super Bowl spots Dockers No Pants and Lexus Act Naturally the White Stripes documentary Under White Northern Lights and director Joseph Kahn's stirring star-studded Everybody Hurts music video for Helping Haiti. The DI Theater is equipped with Baselight 4 color grading system 14-foot Stewart Screen Barco 2K projector and Blue Sky 5.1 audio. In these tough times very few companies remain dedicated to providing the best service and atmosphere while sustaining a very competitive bottom line says Mintz noting that the market for DI features is in flux. A few years ago the bigger facilities were the only ones who were doing it then capabilities expanded and budgets contracted. So now you have the costly facilities on one end and mom-and-pop shops with lower end gear and reduced rates on the other. The New Hat digitaI intermediate theatre provides the quality of a big facility but without the prohibitive cost. Before joining New Hat Mintz worked at Tunnel Post iO Film and The Sony HD Center. A longtime admirer of Festa's work he began discussions with New Hat about a DI Theater as soon as the company opened. I met with Darby and began four-walling out of New Hat on some music video projects he says. I quickly grew fond of facility and people who were working here. He also found that Festa Walker and their staff refuse to lower their standards regardless of budgetary or other constraints. You will get a great product no matter what he says and that was something I knew would translate to the DI Theater. There are many places to do DI and what sets us apart is talent quality and customer service. For its part New Hat was eager to channel its nonlinear approach into the feature world which has unique requirements for digital color correction. The breadth of New Hat's talent and capabilities opens the door to all kinds of projects says Walker from movies to feature restoration trailers and commercials that will be screened in theatrical release. Joining the New Hat team in support of the DI theatre are senior producer Wyatt Valentine and producer Stuart Heising. Valentine has worked with some of the most talented and respected artists and producers in post production; at Encore Santa Monica later known as R!OT he served as a telecine assist graphics assist dub center manager operations manager director of scheduling and director of operations. He also worked at Bobine and was on the management team at The Post Group Hollywood. Prior to joining New Hat Heising enjoyed tenures at Hollywood Digital and Hollywood Digital West as director of operations and later as an in-house visual effects producer at both HD West and R!OT. Our team and our technology are completely in sync. Clients that come to New Hat immediately notice the difference says Festa recalling the company's Brazilian-themed launch party in September. Brazil is Aprile's home country and the company maintains a relationship with Estudios Mega (City of God Sony Fiat Honda) a top full-service post house in Rio and Sao Paulo. We're proud to be a part of the post-production scene on a global scale and now the LA filmmaking culture. Of the company moniker Festa says There's a bravery to buying a new hat - you hope people will like it but you have the confidence to wear it regardless. And of course your New Hat is where your ideas will live. ,1615
Consumers are Bullish on Movies,2010-03-28, By Janet Eden-Harris Chief Marketing Officer and SVP Strategy Market Force Even before the blockbuster success of Avatar consumers were bullish on seeing movies this year according to a consumer survey conducted by Market Force Information a worldwide leader in customer intelligence solutions. Last December when consumers were asked if they planned on going to the movie theatre in the first three months of 2010 nearly 70 percent said yes and one third of those said they planned on seeing three or more movies by the end of March. Graph 1: Expected Excursions to the Movie Theatre in Q1 2010 When asked why they would go to a theatre instead of watching a movie in the comfort of their own home one out of two pointed to the experience of viewing a movie on the big screen. One third of respondents said they did not want to wait to see the latest release and one quarter also listed that they liked going to the theatre with friends. Another reason cited was that the theatre is a good venue for a date. The total experience - including movie concessions and seating - rounded out the list as seen in Graph 2.
Graph 2: Reasons to Choose a Movie Theatre over In-Home These results support the emphasis that studios and exhibitors alike are placing on the overall theatre experience from focusing on comfortable seating and clean facilities to investing in the latest in digital effects and sound quality. But as everyone in the industry knows people do not just go to movie theatres to watch the latest films. They are also looking for alternative ways to watch them on their own schedules and at a lower price driving movie consumption even higher. In this area the biggest growth story is the explosion of kiosk movie rentals. More than four in 10 consumers reported they are using in-store or mall kiosks such as RedBox to rent the latest movie on DVD surpassing the 36 percent that rent from physical stores as noted in Graph 3.
Graph 3: Alternative Movie Rental Channels Even more telling is that 26 percent of consumers said they would increase their use of kiosk DVD rentals the highest percentage of any of the movie rental options. Less than half – only 12 percent – said they expect to rent more frequently from stores while almost one in five expect to rent less frequently from stores in the future. Online rentals such as Netflix and Blockbuster Online are being used by 27 percent of the consumers surveyed and 21 percent said they expect that to increase.
Fifteen percent of consumers said they watch movies from their cable TV subscriptions with 18 percent saying they expect to increase that practice in the coming year. Graph 4: Promotions Driving Movie Awareness When asked what drives them to seek out a new movie more than 70 percent of consumers said television ads followed by movie trailers that they see in-theatre. Recommendations from friends and written movie reviews were also cited by three in 10 consumers as noted in Graph 4.
The survey was conducted in December 2009 among the Market Force network of more than 300 000 consumers. The pool of 3 000 respondents ranged in age from 19 – 72 and reflected a broad spectrum of income levels with approximately half reporting incomes of more than $50 000 a year. Approximately 75 percent were women the primary household consumer purchasers. Half had children at home.
Market Force Information www.marketforce.com ,1618
4000 Years of Africa,2010-03-28, The remains of an ancient temple are discovered in Southern Africa the contents of which are so profound that it calls for a dramatic shakeup in the midst of a secret scientific society. As a young naive scientist Kate is assigned the dirty job of covering up the unwanted discovery in return for career advancement. Torn between her conscience and her desire to fulfill her dreams she embarks on a journey into the unknown with a rough former missionary guide.
As the survivor of a failed mission Ben is stuck in the pain of his past. What follows is a powerful stampede of danger and romance as they're sucked into the fury of an explosive adventure that would change the lives of two unlikely characters forever. Toward the end of last year Orax Media kicked off the production of their first action movie called 4000 Years in Africa and they have just released a trailer for the project. During the last six years producer Peet de Vos of Orax Media spent lots of money and even more time developing what he calls a rebel filmmaking style. The 4000 Years in Africa trailer was planned as a concept test. Everything needed to be tested; the mysterious story line the technical recipes and ultimately how audiences react to it. Being an action junky himself it is no wonder that filmmaker Peet de Vos would eventually ease into a style that is true to his nature: speed pioneering and risk. 4000 Years in Africa was planned as a direct-to-DVD product but Orax Media is keeping options open. They plan to produce an action movie every year this being the project for 2010. The movie features actors Merieke Laas as Kate Reynard Slabbert as Ben Justin Strydom as Vaughn and Will Roberts as Frank. Anna-Marie Jansen van Vuuren was co-producer of the trailer and Luan Lauw co-director. Equipment used on the project included a Canon XL series camera with Canon lens Sennheiser sound and Arri and Kino flo lighting. Post was done on Final Cut Pro. The budget was not released. Based in Pretoria Orax Media is the Audio Visual department of Orax Solutions which is owned by de Vos. 4000 Years in Africa ,1623
ShoWest 2010: Turning Many Corners,2010-03-28, There was a genuine sense of the changing of the guard – or guards – at ShoWest 2010. The obvious one was the fact that this was the last ShoWest ever; the National Association of Theatre owners will take over the convention next year. The new show will be called CinemaCon and it will be held at Caesar’s Palace in Las Vegas. There was also the fact that Motion Picture Association of America president Dan Glickman announced that he is resigning to become president of the charitable organization Refugees International. But for most attendees the big news was the fact that the Digital Cinema Implementation Partners has finally received its funding meaning that corner has been turned at last and the digital roll out can proceed in earnest. All of this took place with a backdrop of one of the most successful box office years in history that saw exhibition take in nearly $30 billion worldwide. There are many reasons for this tremendous success NATO president John Fithian said in his opening address. Movie theatre owners have invested millions in new theatres with the latest technology providing our patrons a better viewing experience with more comfortable seats and unobstructed sightlines in stadium seating. Modern multiplexes provide moviegoers with unprecedented convenience in selecting movies and show times. Online ticketing and automated kiosks make ticket purchases simple and hassle free. In many locations exhibitors have begun to offer premium experiences with reserved seating valet parking concierge services and restaurant and bar services. And of course digital cinema and 3D projection have begun to provide the ultimate immersive visual experience. The industry still faces many challenges and Fithian touched on three key ones: the ongoing threat of piracy; exhibitors’ wish to have more good movies released in the fall and spring; and the studios’ wish to shrink the theatrical window so they can sell DVDs when a hit movie is still fresh in the public’s mind. He acknowledged that progress has been made on all three issues and said discussions continue. Thanks in large part to last year’s box office success there were a significant number of business deals announced and many new products introduced. What follows are the business and technology highlights of the show. Business The DCIP deal dominated most conversations. DCIP represents nearly 14 000 movie theatre screens across North America including screens operated or managed by AMC Cinemark and Regal and has secured a total of $660 million in financing from JPM GE Capital Sumitomo Mitsui Banking Corporation Barclays Bank Credit Suisse Morgan Stanley Bank of America Merrill Lynch Deutsche Bank and Citi. The junior capital was placed with third party investors identified by Blackstone. We are excited that with the continued support of our owners studio partners and financial advisors we have completed this critical step in our process says Travis Reid CEO of DCIP. Over the next few years we'll be aggressively implementing the transition to digital technology in theatres across North America. Guests will enjoy enhanced presentation and additional entertainment options at their favorite theatres as exhibitors and content providers capitalize on the flexibility enabled by digital technology including many upcoming releases using digital 3D. Having this substantial financial package and our studio partnerships in place we're pleased to launch this new era of technology to guests looking for an exceptional out-of-home experience. AMC is a strong advocate of the industry's move to a digital platform as we believe digital cinema delivers a new world of programming opportunities for exhibitors along with a more efficient method of supplying content to our theatres says Gerry Lopez president and CEO of AMC. Most importantly digital cinema will provide an enhanced entertainment experience for our guests. Digital cinema is an industry transforming technology allowing us to significantly enhance the use of our auditoriums. The success of 3D reflects the potential of digital cinema differentiating the theatre experience from other entertainment venues and providing additional value to our patrons says Alan Stock CEO of Cinemark. DCIP's funding will allow us to capitalize on this opportunity. The rollout of digital cinema is an historic milestone for our industry. Our patrons have overwhelmingly embraced digital 3D and the alternative programming made possible by digital projection. Regal is confident that this technology enriches the movie-going experience and greatly enhances our business says Amy Miles CEO of Regal Entertainment Group. The completed funding of DCIP allows us to expedite the pace of Regal's digital cinema deployment. The DCIP news helped unleash a large number of business deals. Sony Electronics announced it has entered into purchase agreements with Digital Cinema Implementation Partners under which Sony Digital Cinema 4K projection systems will be deployed to both AMC Entertainment Inc. and Regal Entertainment Group theatres across the United States. AMC and Regal are the two largest theatre chains in North America. “We are pleased that AMC and Regal have recognized the benefits of Sony’s 4K technology and we are now moving forward ” says Gary Johns vice president of Sony’s digital cinema systems division. “AMC and Regal’s commitment to Sony 4K will significantly accelerate the expansion of digital cinema and also enable exhibitors to provide their customers with a more dynamic and immersive movie-going experience on a much broader scale.” “We believe digital cinema enables the future for our industry as it provides us versatility and delivers our guests a better entertainment experience ” says AMC president and CEO Lopez president and CEO of AMC. “Sony’s 4K digital systems take the customer experience to the next level. We are proud to install their systems in our circuit.” “Regal Entertainment Group selected Sony 4K systems because they provide the highest resolution possible for a picture-perfect presentation ” says Regal CEO Miles CEO of Regal Entertainment Group. “Regal is now poised to expedite our nationwide digital rollout of Sony 4K projectors and 3D technology. Regal continues to accelerate the expansion of RealD locations and our capacity for presenting 3D movies. Digital 3D movies have already proven to be a big hit at Regal’s box offices. Patrons have enthusiastically responded to our Sony 4K projectors for a truly state-of-the-art experience.” Doremi Cinema has an agreement with DCIP to exclusively provide 2K- and 4K-server technology to Cinemark Holdings for their digital cinema deployment. Under the multi-year agreement Doremi will be the sole server supplier for Cinemark's digital cinema roll out. Doremi will also support Regal and AMC for their ongoing deployment requirements. Our relationship with Doremi is solid. They've been supplying systems to our theaters for over two years says Cinemark CEO Alan Stock. Doremi has been an exceptional partner with outstanding technical support and proven 4K expertise. Their outstanding experience in large deployments is an added benefit given the scale of this agreement. We are very excited that all the final details and funding are now in place to proceed aggressively with installations.” Doremi has remained focused on our clients needs and dedicated to staying at the forefront of technology says Michael Archer vice president of Doremi Cinema. “Customers trust our ongoing commitment to integrating “future-proof” features into our servers that will continue to benefit the industry as digital cinema becomes the norm. Barco announced a purchase agreement with DCIP for the supply and installation of more than 3000 digital cinema projectors to Cinemark Cinemark announced the opening of five new Cinemark XD Extreme Digital Cinema auditoriums in Colorado Springs Colorado; Moosic Pennsylvania; Jacksonville Florida; Valley View Ohio; and Des Moines Iowa. The Cinemark XD auditoriums have become very popular with our customers across the nation and now we have the ability to share this new experience with our valued guests in five more cities says Cinemark CEO Stock. Each week we will show the newest and biggest 2D and Real D-3D movies in our Cinemark XD auditoriums. Cinemark has transformed one auditorium at the Tinseltown 20 theatre in Colorado Springs the Cinemark 20 in Moosic the Tinseltown 20 in Jacksonville the Cinemark 24 in Valley View (Cleveland area) and the Century 20 Jordan Creek in West Des Moines into a cinema experience unlike any other. The new auditoriums feature large wall-to-wall & ceiling-to-floor silver screens plush seating custom JBL sound systems featuring crisp clear digital sound and digital images delivered by Doremi servers and Barco digital projectors. Christie announced that Studio Movie Grill has selected its 4K-ready Solaria series digital cinema projectors for 60 screens in multiplexes across Texas Missouri and Georgia. SMG audiences watch the latest first-run movies while enjoying restaurant-style table service with upscale foods that include gourmet pizza BBQ ribs and fresh salads. “The contrast and brightness of Christie digital cinema projectors are unparalleled. We foresee a much lower cost of operation while providing a new level of excitement for our audiences especially with all the great new 3D movies coming down the pipeline this year ” says founder and President Brian Schultz of Studio Movie Grill.
In addition to retrofitting all existing theatres across Texas SMG will also install Christie projectors in two new theatre complexes – Zona Rosa in Kansas City Missouri and Holcomb Bridge in Atlanta Georgia. “SMG is making the investment to go all-digital to ensure that customers enjoy an enhanced cinema experience. With 35 percent of our screens currently featuring 3D we look forward to displaying the most vivid images and benefiting from the more efficient optics and lower lamp wattages of Christie projectors ” says Schultz. “SMG is proud to partner with a company of the caliber of Christie with whom we have always had a great working relationship. They also share our vision for the next generation in movie going and their superior quality products represent not only the future of cinema but an unrivalled viewing experience for our customers.”
Craig Sholder vice president of entertainment solutions for Christie says “SMG has truly thought of everything. They have transformed their cinemas into the ultimate destination for out-of-home entertainment – it doesn’t get much better than full service treatment dinner and a spectacular feature presentation.”
Christie also announced that Sonic Equipment Company has ordered 100 Christie Solaria Series 4K-ready Series 2 digital cinema projectors. Kansas-based Sonic Equipment Company which also offers full-service consulting remodeling and new construction to motion picture exhibitors is also a certified reseller of Christie digital cinema projectors. With more than 400 screens across thirteen states they have been rapidly expanding over the past several years to become one of the industry’s fastest growing companies.
“Having the latest technology is extremely important to us. We want to make sure our customers are getting the best and widest range of products with the highest quality technical support. We recommend Christie DLP Cinema projectors because they have proven to be the most reliable and affordable over the years we have installed them ” says Eric L. Olson director of operations for Sonic. “The Christie Solaria Series offer exceptional brightness and resolution and at the same time are cost-efficient which makes our customers confident with our choice of projection solutions.”
Mike Covey Digital Cinema manager at Sonic says “We installed digital equipment in over 70 screens in 2009. Christie has been with us every step of the way and their excellent technical staff has helped us through the many questions that come up in transitioning from 35mm to digital. Their products and technical expertise ensure the smoothest installations whether retrofitting existing screens or helping customers design new facilities from the ground-up.”
In addition Barco announced that R/C Theatres has selected Barco Series-2 projectors for installation in three cities across their circuit. A total of 42 projectors will be installed at multiplexes in Wilkes-Barre Pennsylvania Hanover Pennsylvania and Kill Devil Hills North Carolina. Barco’s turnkey installation and warranty service which also includes servers by GDC Technology will be supported by Barco’s NOC (Network Operations Center) and 24/7/365 Call Center. “We’ve been working hard with Barco and Cinedigm to realize this deployment and we’re very excited that Barco’s Series-2 fits our mix of theatres so perfectly ” says Scott R. Cohen CEO of R/C Theatres. “The conversion to digital is the best thing to happen to our business in years and our partnership with Barco both in technology and service is guaranteed to yield great results.” “As the founders of the R/C brand the Cohen family has been setting standards in movie exhibition since the 1932 ” says Barco’s Freidberg. “Because R/C has always been the primary champion of the independent exhibitor their choices are closely watched by their peers. I’m so pleased to see R/C Theatres validating the Barco model of high operational performance low cost of acquisition and superior customer interface.” Memphis-based Malco Theatres has chosen Barco for all 320 screens in the Malco circuit. Installation of the new projectors will commence in late summer 2010. For Mike Thomson CTO of Malco Theatres their “all Barco” decision was based on performance versatility and serviceability. “The new Barco Series 2 models put out a brighter picture than any other projector ” Thomson says. “With 3D it’s all about bright images and by far the new Barco projectors are the brightest on the market making them ideal for 3D.” Thomson also notes that Barco’s software and product design facilitates the industry’s fastest and most accurate projector set-up. “We pioneered the use of dual projectors for 3D and Barco is by far the easiest for doing a dual convergence. Barco’s also been great about making the technology as easy to use as possible and that’s important because we do most of our own servicing ” he says. According to Joe DeMeo director of sales for Barco Digital Cinema North America feedback of this nature is an essential component of Barco’s on-going efforts to improve its product lines. “Malco is one of our long-standing digital cinema customers and they’re among the very first circuits to go digital ” says DeMeo. “Our relationship with Malco is based on our mutual passion for providing the very best viewing experience for moviegoers. To us this latest agreement represents more than the sale. It’s about moving forward with a digital cinema pioneer as a technology partner and one who provides us with essential feedback and suggestions for our next generation products. Malco is 100 percent committed to our technologies as we are to them.” Barco also announced success overseas. In one deal it has signed a contract for the deployment of 100 digital cinema systems for Zhejiang Time Cinema China's seventh largest cinema chain. The contract calls for the deployment of Barco's Series 2 digital cinema projector family including the extremely bright DP2K-32B and the compact DP2K-20C and 12C projectors. “Having previously used Barco projectors we are very familiar with their solutions' extremely high quality and the company's quick response service program ” says Zheng Jintian Zhejiang Time Cinema's technical director. “Our order for 100 projectors shows how truly confident we are in Barco as both a solution provider and business partner in our rapid growth.” “We are excited in launching Barco's next generation 2K Digital cinema projector line ” says Yan Fei manager director of Barco Greater China. “Equipped with the latest DLP Cinema chip the new DP2K-series offers the brightest and most cost-effective projection solution available on the market today. We are delighted to be installing the new series II projectors with Zhejiang Time Cinema as this contract honors our continued efforts developing innovative products and solutions.” And Barco has signed a contract for the deployment of 200 digital cinema systems for Jinyi Zhujiang Movie Circuit China's sixth largest cinema chain. We have been extremely happy with the performance of the 100 Barco digital cinema systems we installed last year ” says Xu Binbiao GM of Jinyi. “Needless to say the quality of Barco products speaks for itself. As we pursue the expansion of our cinema's it's only natural that we partner again with Barco in our continued expansion into digital cinema.”
“We're happy to continue our relationship with Jinyi ” says Barco’s Yan Fei. “Building upon last year's order an additional 200 digital cinema projects is sure to enhance Jinyi's profile as a top cinema provider. This type of domestic growth bodes well for our investment in technical development and localized production to meet the customer demands of the China market.” NEC Display Solutions of America announced an exclusive agreement with Southern Theatres owners of The Grand Theatres and AmStar Cinemas to provide digital cinema projectors at locations in nine states. The exhibitor has more than 30 NEC digital cinema projector systems already installed. “Our relationship with Southern Theatres has been a strong one for quite some time but we’re especially grateful for the trust they have placed in us with this exclusive agreement ” says Pierre Richer president and COO of NEC Display Solutions. “The 3D juggernaut is upon us and NEC is prepared to help forward-looking exhibitors such as Southern Theatres capitalize on the powerful opportunities presenting themselves to the industry.”
NEC Financial Services is providing the financing for the project which will be rolled out in three phases over the course of this year and early 2011. Phase I will be completed in time for the movie releases How to Train Your Dragon 3D and Clash of the Titans 3D.
Ballantyne of Omaha is supplying the ancillary digital components screens and installation for the 18 Southern Theatres locations which consist of 268 screens.
“Ballantyne Strong’s relationship with Southern Theatres extends back to its start as a theatre circuit. We have been providing projectors and associated equipment to the Solomon family since the ‘70s ” says John Wilmers president and CEO Ballantyne Strong Inc. “Southern has aggressively been equipping theaters over the past two years to keep up with the 3D demand and we are excited they are committed to lead the pack as the industry transitions to digital cinema.”
“We pride ourselves on offering the best movie-going experience to the public ” says George Solomon president of Southern Theatres. “NEC and Ballantyne Strong are playing crucial roles in that objective.”
Doremi announced that it shipped more than 850 DCP digital cinema servers in February alone bringing its worldwide install base to more than 11 300 units. Doremi first demonstrated its digital cinema server prototype at IBC in 2004. “Our line of DCP-2000 & DCP-2K4 servers are the lynchpin products behind Doremi Cinema’s expanding client base ” says Doremi's Archer. “Thanks to our customers dealers and integrater partners Doremi's digital cinema server remains the number one installed server globally.”
With financial backing for digital cinema deployments finally coming to fruition exhibitors worldwide are pressing forward in securing systems for their screens. “We have spent years researching and developing technology that has allowed us to incorporate a multitude of additional features into our server. Many of these are not part of the DCI spec but are seen as necessary value adds by our customers when choosing our product” says Archer. “It is our job to make sure that exhibitors can take advantage of tent pole films like Avatar and Alice in Wonderland leverage the top down studio marketing that comes with them and deliver the latest digital content to their theater patrons who are packing theaters for these films and paying a premium ticket price.”
MasterImage 3D announced that Montreal-based Guzzo Cinemas has chosen to convert 43 of its screens to stereoscopic 3D projection with MasterImage 3D digital theatre systems. The chain which encompasses 148 screens in 11 theatre complexes in the greater Montreal area began implementing the MasterImage systems last December. Twenty-seven systems are installed today with all 43 expected to be in place this month. The MasterImage system hit every point we were looking for says Vince Guzzo executive vice president and chief operating officer of Guzzo Cinemas. The presentation is high quality of course and MasterImage offers single-use glasses which to us is preferable to cleaning and re-using glasses. A big benefit of the MasterImage system is that it can be very easily moved and redeployed in different theatres along with the projection system in the weeks after a movie opens. It doesn't require us to call in a technician. Finally we absolutely prefer to own our systems outright. That is critical for us. We're pleased and honored to support Guzzo Cinemas as they continue to expand their 3D offering across the Montreal area says Peter Koplik executive vice president at MasterImage. They are a forward-thinking exhibition company and with the completion of their 43 screen conversion this will be the largest installation of MasterImage 3D theatre systems in North America. Screenvision has signed long-term extensions with regional exhibitors Classic Cinemas Uptown Entertainment and Studio Movie Grill. Through these deals Screenvision says it furthers its position in important markets such as Chicago Detroit Dallas and Houston.
“Our partnerships with Classic Cinemas Uptown Entertainment and Studio Movie Grill demonstrate Screenvision's ability to provide advertising technology and entertainment solutions that add real value to exhibitors across the country ” says Darryl Schaffer executive vice president exhibitor relations Screenvision. These chains are strong in markets such as Chicago Detroit Dallas and Houston all of which are important for our network and I am delighted they have renewed with us.”
Sonic Equipment Company has signed a sales service and installation agreement with B&B Theatres to provide equipment and service. B&B Theatres a member of the National Association of Theatre Owners Cinema Buying Group is participating in Cinedigm’s Phase 2 digital cinema deployment. B&B Theatres brings their 205 screens to the program and plans for a complete deployment over the next 24 months. “We have been providing our PM service to B & B Theatres for their 35mm systems and are pleased to be able to continue our relationship into the digital era ” says Sonic’s director of business management Steve Zimmerman. “We look forward to this exciting transition.” “I am pleased that B&B can continue our long term relationship with Sonic Equipment Company as we move into the digital age. Sonic was one of the top installers of digital equipment in the United States last year and so we are confident in their knowledge and experience. Eric Olson and his well-trained techs have installed all of our current digital equipment and we have had perfect presentations and no failures. We look forward to working with Sonic as we transform our company to an all digital circuit over the next two years ” says Bob Bagby president of B&B Theatres. B&B Theatres has one fully digital Cineplex in Hannibal Missouri. Plans are made to fully convert at least 50 percent of their remaining theatres to digital in 2010. Cinedigm also announced that Starplex Cinemas would participate in its Phase 2 digital cinema deployment program by transitioning 102 screens from analog to digital cinema projectors. Starplex will become Cinedigm Certified in eight locations. “We are pleased to welcome the Starplex group of theatres to the Cinedigm family ” says Cinedigm chairman and CEO Bud Mayo. “We share a vision to improve the movie-going experience and to provide choices for Starplex’s customers that only digital cinema allows.” Steve Holmes CEO of Starplex Cinemas says “Starplex is very excited to be transitioning our circuit to digital cinema. Enabling our theatres to use the latest technology to bring feature movies and other exciting content to our customers is an opportunity to distinguish our theatres from others. We believe Cinedigm is the best partner for this transition and look forward to our work with them.” “Starplex Cinemas is continually enhancing the movie-going experience for their audiences ” says Chuck Goldwater president of Cinedigm’s Media Services Group. “Their innovations in theatre design and operations have been leading the way in the industry and this is one more giant step in that direction. Cinedigm is honored to have been chosen as their partner in entering the digital world.” SmartJog and XDC have signed a non-exclusive partnership agreement.
Under the terms of the agreement XDC will offer the SmartJog solution to exhibitors under contract with them as part of their portfolio of services including electronic distribution and storage of content.
Exhibitors who are part of the XDC network will have the possibility to deploy the SmartJog Central Library Servers for the electronic reception and storage of Digital Cinema Packages into their cinemas. SmartJog’s and XDC’s equipment will be integrated to provide exhibitors a complete solution for the management of content within their cinemas.
In addition XDC and SmartJog have inked a digital distribution partnership agreement enabling XDC to use the SmartJog digital delivery platform to deliver DCPs to cinemas under contract with XDC but also to any connected cinemas to the SmartJog network in Europe. “After an initial phase of testing we have decided to broaden our service offering to include the SmartJog solution. Our cinema customers will have the possibility to receive digital cinema content via SmartJog and our XDC Digital Content Lab will also offer to theatrical distributors a digital delivery service to all cinemas connected to the SmartJog network ” says Fabrice Testa vice president sales and business development of XDC.
“SmartJog is thrilled about this agreement as our XDC & SmartJog services complement each other allowing distributors and exhibitors to benefit from an integrated and complete solution for content distribution and storage ” says Nicolas Dussert European theatrical sales director for SmartJog.
D-Box Technologies has an agreement with San Diego-based UltraStar Cinemas to equip two additional theatres with its D-Box MFX Seats bringing the total number of UltraStar theatres offering the D-Box experience to five. UltraStar's Mission Marketplace will equip an auditorium with 26 of the D-Box MFX seats while the Poway Creekside theatre will feature 18. With both theatres scheduled to debut with D-Box this March moviegoers can continue to live the action at two current area locations Apple Valley Cinema in San Bernadino and Mission Valley in San Diego as well as one of the first D-Box equipped location namely UltraStar Cinemas Surprise Pointe near Phoenix. We are very proud to continue our expansion with UltraStar Cinemas who was the first exhibitor chain to sign on with D-Box says president and chief executive officer of D-Box Technologies Claude Mc Master. About this time last year we were preparing to debut the first D-Box theatrical system to the public at their Arizona location and now audiences throughout North America and even Japan can enjoy the D-Box experience. The team here at UltraStar Cinemas could not be more pleased with our partnership with D-Box. After almost a full year of operating D-Box's motion system in my theatres I can truly say that this is a technology that has made an impact and a difference in our business. Our current installations successfully draw guests from miles around and continue to generate additional income. It only made business sense to expand our D-Box offering says Damon Rubio executive vice president of operations UltraStar Cinemas. Technology The good news for exhibitors is that the sea change days for digital cinema are over at least for the near term. The new challenge is sorting through a fairly dizzying number of upgrades and enhancements that all manufacturers are adding to their product lines. Technology changes – at least major ones – are unlikely to happen for the next two-three years or so as manufacturers operate overtime to meet the current demand to convert film screens to digital. Texas Instruments announced that all DLP Cinema subcomponents for DLP Cinema 2K and its upcoming Enhanced 4K platforms have recently completed testing for Digital Cinema Initiative standards by passing the procedural test administered by CineCert the leading third-party authorized test facility. This enables DLP Cinema’s OEM licensees Barco Christie Digital and NEC to complete final testing of their new DLP Cinema next-generation electronics platform models and ship in the coming months. We are very pleased to confirm that the DLP Cinema next generation platform is the first device to clear procedural testing in our lab ” said John Hurst CTO of CineCert. “Our goal is to facilitate and guide manufacturers integrators and exhibitors on the technical details and testing required for compliance. DLP Cinema-based projectors are expected to meet each requirement to ensure the highest quality motion picture experience. “Having reached this major milestone we are unwaveringly confident that our OEMs will be able to ship compliant DLP Cinema 2K projectors in the very near future ” says Nancy Fares business manager for Texas Instruments DLP Cinema Products. “These latest projector models will have a seal of security while upholding the unmatched advantages of the DLP Cinema platform.” Texas Instruments was also proudly proclaiming that the company won the 2009 Academy Award for Scientific and Engineering. Acknowledged during a private award ceremony D. Scott Dewald Greg Pettitt Brad Walker and Bill Werner were recognized for their contributions furthering the design and refinement of the Texas Instruments DLP Cinema projector achieving a level of performance which enables color-accurate digital intermediate previews of motion pictures. The fact that the projectors in theatres today do not meet the Digital Cinema Initiative specifications has been widely known and widely overlooked for the most part because the systems in place were doing a good job. But as the roll out matures that issue is certain to become more critical and the studios exhibitors and manufacturers have taken note. Barco announced that its Series 2 digital cinema projector has successfully passed the procedural test for DCI compliance administered by CineCert the leading third party authorizing test facility. With these tests completed Barco has reached another important milestone in the rollout of its brand-new DP2K projector series. “We are thrilled to be the industry's first digital projector manufacturer that has successfully passed the stringent assessment procedures carried out by the DCI approved testing agency CineCert ” says Wim Buyens vice-president of Barco's Digital Cinema division. “It is a reward for the rigorous quality and security standards applied in our labs during the development of this new DP2K projector series. For our customers this will result in the most secure high-quality and low-risk projector solution available today.” “We are very pleased to confirm the DP2K-20C is the first digital cinema projector to complete procedural testing in our lab ” says CineCert’s Hurst. “It shows that DCI compliance testing is not only possible but also quite practical.” Barco also announced its Diagnostics Companion a new optional software module that enables users of Barco Series I and Series II projectors to identify diagnose troubleshoot and remedy error conditions — without technical support assistance. The Diagnostics Companion is integrated in Barco’s Communicator software starting with version 4.0. The Communicator runs as a standard PC application or more conveniently runs on Barco’s Communicator Touch Panel a multi-user projector control center that’s optimized for quick and efficient operations. The Diagnostics Companion works with Barco’s DP-1200 DP-1500 and DP-2000 Series I projectors and will be shown on the new Series II projectors at ShoWest 2010. To obtain the Diagnostics Companion current Series I users can upload the version 4.0 Communicator update. As an interactive module the Diagnostics Companion runs in the background until needed. If an error condition occurs and the projector’s red “tail lights” turn on a pop-up message appears in the Communicator — informing the user about the specific condition. If more information is available the user can click an adjacent icon which automatically opens the Diagnostics Companion. Within the Companion’s window comprehensive tables are provided that outline the situation and the solution. In addition step-by-step troubleshooting procedures are provided including detailed pictures of specific components. “If a problem arises the majority can be solved using the Diagnostics Companion without requiring Technical Support ” says Andrew Gaweda product manager for Barco Digital Cinema NA. “As a built-in troubleshooting guide the Companion actually empowers the user with a wealth of knowledge right at their fingertips. It goes one step beyond basic error messaging with clear diagnostics and proven steps to resolve problems.” “The goal of the Diagnostics Companion is to enable users to perform on-site technical analysis and to that end the Companion succeeds brilliantly ” says Todd Hoddick vice president of digital cinema for Barco NA. “With this application and the intelligent power that it places right on the Communicator touch panel a new and highly interactive level of diagnostics is immediately available across the Series I and Series II product lines. The result is greater up-time and an increase in the customer’s working knowledge of our projectors.” And Barco announced an expansion of its advanced Network Operations Center a comprehensive set of monitoring tools and services available to all Barco digital cinema customers. As a proactive service designed to ensure the optimum performance of each customer’s digital cinema network the NOC now offers expanded monitoring capabilities for networked projectors servers theatre management systems automation controllers switches and Uninterruptible Power Supply units. Now well into its second year in operation Barco’s NOC provides theatre owners service providers and system integrators with a common platform for monitoring servicing and maintaining their projector fleet. Based on the overwhelmingly positive customer response new NOC services have been added including expanded remote network analysis new remote upgrade and configuration capabilities 24/7/365 site schedule and content verification plus enhanced real-time network snapshots. “It’s all about keeping pictures on our customers’ screens ” says Jim Wickenhiser NOC and Call Center Manager for Barco Digital Cinema NA. “At any given customer site particularly when staff resources are at a premium the NOC provides our exhibitors with the confidence that their equipment schedules servers and switches are being monitored. More importantly we have the ability to be proactive. Not only do we have knowledge of all these network devices but we can reach out into the network to diagnose and troubleshoot remotely. We’ve had scenarios where the customer isn’t aware of a network problem yet we’re already working on it. Overall the NOC enables our customers to concentrate on business yet know that they have a direct interface to Customer Service 24/7.” Dolby announced it is working with Walt Disney Pictures and Pixar Animation Studios to deliver a new audio format Dolby Surround 7.1. The new format which was being demonstrated at the show will be launched in select theatres with the release of Toy Story 3 in 3D this June.
“For 40 years Dolby has not only provided content creators with the tools to create a more realistic audio experience but has also enabled the exhibitor to deliver audiences the ability to experience the content as the creator intended ” says Page Haun senior director marketing cinema market segment Dolby Laboratories. “The release of Toy Story 3 in a discrete 7.1 mix will raise the bar for movie theatre owners and their patrons.” Dolby Surround 7.1 provides content creators four surround zones to better orchestrate audio channels in a movie theatre environment. The four surround zones incorporate the traditional Left Surround and Right Surround with new Back Surround Left and Back Surround Right zones. The addition of the two Back Surround zones enhances directionality in panning 360 degrees around the theatre.
Dolby Surround 7.1 format comprises 8 channels of audio and has the following channel layout: Left Center Right Low-Frequency Effects (LFE) Left Surround Right Surround Back Surround Left (new) and Back Surround Right (new). In order for exhibitors to deliver the new format Dolby will be providing Dolby Surround 7.1 playback capabilities in the Dolby CP650 and Dolby CP750 digital cinema audio processor lines. Dolby also announced it has reduced the price of its reusable 3D glasses. Starting today Dolby exhibitors can purchase new 3D glasses at a list price of US $17 reduced from US $27.50. Dolby is also offering additional cost savings through new bundled pricing for its standard Dolby 3D single projector kit with up to 500 pairs of glasses as well as a Dolby 3D bundle for its large-screen solutions 3D kit with up to 1 000 pairs of glasses. “Since our market entry just over two years ago Dolby has shipped more than 3 200 3D systems to over 400 exhibitor partners in 67 countries. This growth in the number of Dolby 3D equipped digital cinemas around the world has enabled us to reduce the price of our glasses further ” says John Carey vice president worldwide sales products and services Dolby Laboratories. “Our eco-friendly glasses are designed to be used repeatedly bringing per-ticket costs well below disposable single use 3D glasses.” Datasat Digital Entertainment introduced the AP20 and unveiled a dealer certification program for the 16-channel audio processor. “With a product as feature-rich as the AP20 a certification program like the one we have developed assures each and every theatre will be tuned to the highest quality possible and soundtracks will sound as they were originally designed ” says Dusty Thomas vice president of sales at Datasat Digital Entertainment. Certification will involve technical training of the audio processor’s many features including Dirac Live Room Optimization a technology new to the cinema space. This certification mirrors that which is required for a majority of digital cinema enhancements. “Audio cannot be left stagnate in this pivotal time in our industry’s advancements ” Thomas says. “This processor and supporting certification programs greatly advance the audio options available to the cinema environment.” First sessions of the dealer certification program will begin late April. Harkness Screens introduced its Digital Screen Selector. Intended as an aid to theatre operators seeking to optimize their investment in digital cinema the Digital Screen Selector can help to reduce operating costs for 2D and optimise light levels for both 2D and 3D. The Digital Screen Selector is available through the Harkness web-site; it has a user-friendly interface with no software download required and uses industry-accepted standards and vendor data to compare different operating scenarios. The Selector is intended to be a guide for theatre operators when consulting with projector lamp and 3D technology providers. “We are very pleased to be able to offer our new Digital Screen Selector to cinema professionals around the world ” says Andrew Robinson managing director of Harkness Screens. “By answering a few quick questions about the screen size and equipment being used in a particular theatre the Selector suggests Harkness screen options to optimise performance and cost.” Harkness was also highlighting its Perlux gain screens which the company says reduce digital cinema projector brightness requirements significantly relative to matt white screens enabling the use of smaller lamps that are cheaper last longer consume less power roughly halving operating costs. Additionally if the screen is considered at the same time as the projector investment a smaller (and cheaper) projector can be an option. “We are committed to the trend in digital cinema and will continue to develop our products to optimize this application ” says Robinson. QSC Audio was showing upgrades to its DCP 300 Digital Cinema Processor. The DCP 300 now offers Windows 7 driver compatibility RS-232 serial automation control SNMP network remote control and monitoring and matrix surround decoding for its non-sync and surround EX inputs. The new SNMP capability offers simple and easy integration into third party Theatre Management Systems and remote monitoring via Network Operations Centers. The DCP 300 covers cinema systems ranging from three to five screen channels and is configurable for passive bi-amp tri-amp or quad-amp operation. Sixteen digital AES inputs provide the flexibility to reproduce current and future soundtrack formats. The DCP 300 is also compatible with all analog cinema processor formats including Dolby Digital Surround-EX and DTS-ES and features a 10-channel analog input for integration with 35mm audio systems. QSC also announced a new addition to its digital cinema speaker family the new SB-15121 subwoofer. The SB-15121 has been designed for use in premiere cinemas and post-production applications. The 1500W 21-inch low-frequency transducer features a 6-inch diameter voice coil in a vented neodymium magnet structure that is designed to dissipate extreme amounts of heat and allow for excursion that is double that of typical 18-inch transducers. This ensures cool operation even at high power levels increases driver lifespan and decreases power compression at high drive levels.
The large ported enclosure ensures response to the lowest audible frequency for bass. In fact the frequency range extends to below 25Hz without the need for B6 EQ filters. Barry Ferrell QSC senior director cinema solutions says “The SB-15121 is a unique product with no direct competitive equivalent. It was designed with the most advanced measurement tools available to produce a rugged and nearly unbreakable transducer that is also capable of incredibly low distortion. Strength and finesse are combined in a truly state of the art component. As a result premium cinemas can offer increased subwoofer performance to go along with enhanced seating and upscale concession items — and achieve a distinctive level of performance compared to their competitors.” In addition QSC introduced the new purpose-designed DCS SC-424-8F flyable four-way tri-amplified speaker system for Dome and Large Format cinemas that require suspended mounting of screen channels or point source surround channels. Both the Mid/High and LF enclosures are built with common dimensions to facilitate easy installation in vertical or horizontal arrays and are constructed of heavily braced 15mm concert tour-grade plywood. In addition 16 M10 attachment-points-per-enclosure are provided for safe and easy suspension. The DCS SC-424-8F also features a unique coax HF/VHF diaphragm which has less mass than traditional diaphragms resulting in exceptional dynamic range extended high frequency response and lower distortion. Francois Godfrey QSC director of sales cinema says “This system has been developed specifically for the unique requirements of Multi-Purpose Large Format and Dome motion picture playback. The two main units comprise the MHV-1090F mid-high / very-high-frequency system and the LF-4215-8F low-frequency system aimed purposely at applications where a point-source surround channel or screen channel must be suspended or flown rather than mounted on a platform or floor.” Laser Light Engines a developer and manufacturer of ultra-high brightness laser-driven light sources announced that it has demonstrated the first laser light source to completely eliminate laser speckle reaching the level of performance required for exhibition of artifact-free laser images suitable for digital 2D and 3D movies. This development paves the way for commercialization of LLE’s RGB (red/green/blue) lasers as what the company believes is an improved high-brightness solid-state illumination source for projection manufacturers. The company says that RGB illumination will dramatically reduce operating costs for movie theater owners for a potential per screen savings of $10 000 a year by eliminating the need to replace expensive Xenon arc lamps (projector bulbs) and reducing electricity use as much as fifty percent. “LLE lasers will reduce power consumption and cooling costs providing a cost effective and green alternative to Xenon arc lamps ” says Bill Beck co-founder and executive vice president of business development Laser Light Engines. “Unlike Xenon lamps that rapidly decline in output the LLE system will provide full brightness over the lifetime of the projector serving as a solution for digital cinema large venue projection and digital signage applications.” “As the motion picture industry continues to expand 3D and large venue exhibition offerings laser illumination offers tremendous benefits including higher-brightness long lifetime solid-state performance and in the future expanded color space increased contrast and bit depth ” says Doug Darrow Laser Light Engines president and CEO. “In addition to constant brightness that ultimately could surpass bulb illumination by three to five times laser illumination will offer significant operational cost and environmental savings for exhibition eliminating Xenon bulb replacement and reducing power and HVAC costs.” Finally there were three companies at the show hoping to capitalize on the fact that film distribution and exhibition still dominate the industry leaving many film-only theatres with no way to capitalize on the current popularity of 3D. Technicolor Oculus and SoliDDD all drew sizable crowds of people curious about their products. It remains unclear how many if any of the studios will actually support these systems. Technicolor and SoliDDD are based on the over-under system; Oculus uses a side-by-side system that it says is steadier. SoliDDD CEO Neal Weinstock made the case for his own company but could have been speaking for the others as well. “For motion-picture producers and distributors SoliDDD lenses can be hugely important ” says Weinstock. “There is a shortage of theaters for 3D. Our lenses are inexpensive enough to be included in a moderate production budget and then provided to theaters along with each release print. We can create a pipeline for distribution of releases that could otherwise find only short cramped theatrical windows.”
“This business is not simply a short-term play on film in the several years left before digital takes over ” Weinstock says. “We are able to adapt the technology to fit digital projectors too and continue to offer a system that is far superior to others and less expensive than others in what will likely be a mostly digital market in about a decade.”
Across the exhibit hall Oculus3D announced that it is working with Cereplast to offer what it says are the world's first biodegradable/compostable 3D glasses as part of the OculR 3D viewing system to movie theaters. The glasses are manufactured using Cereplast's bioplastic resins and are expected to be available for summer 2010 distribution to movie theaters. We are very glad to be associated with Oculus3D a company that understands and is concerned about the environmental impact associated with traditional petroleum-based plastic. Through the collaboration of our joint effort we can offer the Hollywood community meaningful 'green' benefits requiring little effort and providing large impact says Frederic Scheer founder chairman and CEO of Cereplast.
By using Cereplast's resins in our 3D biodegradable and compostable glasses we can now help the entertainment industry reduce its carbon footprint and provide movie theaters with smarter choices for both affordable 3D systems and compatible 3D eyewear says Marty Shindler co-founder and CEO of Oculus3D. ,1628
Supporting Susan G. Komen for the Cure,2010-09-14,Breast cancer claims the life of one woman every 69 seconds – haunting number that translates into more than 465 000 deaths each year. That statistic will form the backdrop for a one-night star-studded event broadcast live to select movie theatres across the country illuminating women engaged in the battle of their lives against this deadly disease. 1 A Minute Live Supporting Susan G. Komen for the Cure will bring together survivors and celebrities for an inspiring evening of hope awareness and discussion on October 6. The 1 A Minute Live Supporting Susan G. Komen for the Cure event will feature a live panel discussion with cancer survivors and celebrities Melissa Etheridge Olivia Newton-John William Baldwin Namrata Singh Gujral Barbara Mori and others bringing to light the issues faced by women with breast cancer and their families while highlighting the optimistic strides made against the disease in recent years. “Thirty years ago I promised my dying sister Susan G. Komen to do everything in my power to end breast cancer forever ” says Nancy G. Brinker Founder and CEO of Susan G. Komen for the Cure. “1 A Minute helps fulfill that promise by encouraging a dialogue about this awful disease.”
Directed by Indo-American actress and breast cancer survivor Gujral and narrated by Kelly McGillis the docu-drama 1 A Minute portrays one woman’s journey through the various phases of breast cancer diagnosis and treatment interwoven with the personal stories of celebrity survivors. “Having already lost two young aunts to breast cancer and furious at the toll that cancer takes around the world I decided to turn my harrowing journey into a positive outcome. I launched 1 A Minute while going through my third chemotherapy treatment ” says Gujral. “I did not want to put lipstick on cancer. Cancer is ugly and will remain so. But 1 A Minute is hopeful positive and uplifting.”
The special event broadcast live from Woodbury University in Los Angeles coincides with National Breast Cancer Awareness Month and will help promote awareness and prevention and support survivors of women’s cancers. Donations received from 1 A Minute will support Susan G. Komen for the Cure’s promise to end breast cancer forever. “There is nothing more important than giving communities the opportunity to support discuss and share hope in the ongoing battle to cure this terrible affliction that strikes so many ” says Dan Diamond vice president of NCM Fathom. “Breast cancer is no longer six degrees of separation—all of us in one way or another have been touched by its impact whether through a friend mother sister wife or co-worker. Together through this moving educational and thought-provoking evening we can take another step to stop the clock to beat breast cancer.” Presented by NCM Fathom and UniGlobe Entertainment tickets are available at www.FathomEvents.com and presenting theatre box offices. For more information about 1 A Minute visit www.1aminute.com.
1 A Minute Live Supporting Susan G. Komen for the Cure will appear in 530 select movie theatres. ,1944
Norwegian Film Institute Installs First CRMS,2010-03-28,The Norsk Film Institute (NFI) in Oslo is literally the axle upon which the Norwegian film industry revolves. And with over 2000 screenings a year in its Oslo premises roughly half of which are previews of major international releases for press and cinema owners having the best vision and sound facilities are a fundamental requirement. It is with this in mind that the NFI has recently installed the first of Alcons’ new Cinema Ribbon Monitor Systems. The NFI’s Lillebil Room (named after the famous Norwegian actress Lillebil Ibsen) is a 68-person capacity screening facility where a constant series of daytime previews and evening showings keeps its equipment and staff very busy. “The sound has to be fantastic because of the status of the NFI ” says the facility’s Jan Olsen. “I had been aware of the Alcons pro-ribbon technology for some time and was eager to try something unconventional in the Lillebil Room. We always want to improve our equipment and I was looking for a system that could easily handle current and future challenges of film sound such as uncompressed sound from digital cinema packages.” After feedback from consultant Torkell Saetervadet Olsen chose a CRMS configuration of three front channels and 12 surround cabinets powered and controlled by Alcons ALC power amps with Sony DFP3000 for analog sound and SDDS playback a Dolby DA20 processor for SRDigital and a Yamaha DME64 as central digital processor. Each CRMS system comprises a mid-high section (CRMStop) featuring one RBN401 pro-ribbon high frequency driver with non-vented 8-inch mid driver and a separate low frequency 15-inch section (CRMSsub). The mid-high unit is specifically designed to act both as the mid-high section for the main/front system and as a full-range surround system. This design results in a very uniform sound stage throughout the entire listening area. “I especially like the system’s clarity it's a very open sound. Speech intelligibility is extremely good and the bass response from the front channels is so much tighter that our previous system ” says Olsen. “Since we are using the CRMS mid-high systems on the surround channels the smoothness between the front channels and surround is fantastic. I actually forget how good it sounds between seeing films in there. It's always a pleasure to watch them in that auditorium.” With one of the Lillebil Room’s main functions being to show previews of films from some of the world’s biggest makers to Norwegian journalists and cinema owners their verdict on the sound quality of the CRMS is extremely important. “The feedback from audiences has been very good ” says Olsen. “We now run every feature film on 0.0 (SDDS) or 7.0 (Dolby) and no one thinks it is too loud any more. On our previous system we often had to reduce the volume by between - 2db and - 6db because it was unpleasant and distorted. But however loud the soundtrack is with the CRMS it never sounds stressed.” ,1631
Previewing NAB 2010,2010-03-29, Very few if any people working in the motion picture industry today continue to believe that stereoscopic 3D is a fad that will soon run its course. The recent successes of the live-action blockbusters Avatar and Alice in Wonderland have shown that audience understand that 3D offers a more exciting visual experience and they’ve so far been quite willing to pay extra movie for the privilege. The challenge for filmmakers now is to learn the techniques and technology that make stereoscopic 3D possible and a good place to start is the upcoming National Association of Broadcasters convention that is being held April 10-15 in Las Vegas. The pre-show buzz about the conference would suggest that 3D will seemingly be the entire focus of the event but realistically and whether you like it or not it is still largely a 2D world and advancements in 2D technology will also be shown. Look for the 2K-4K discussion to continue as will the trend toward ever smaller and more powerful tools. And as always there will be surprises. Here are some highlights of what to expect at the show. Production Band Pro will be showing a wide range of new technology as well as some standbys like the Sony F35. Since it was introduced the F35 has been used on a number of high-visibility projects and another one is in the works. George Lucas apparently felt that the F35 camera package was a perfect fit for Lucas his upcoming WWII epic Red Tails the fictional story inspired by the historic and heroic exploits of America’s first all-black aerial combat unit. While still in pre-production producer Rick McCallum and director Anthony Hemingway knew that Lucas wanted to shoot digitally and that cinematographer John Aronson wanted to use the film-style tools he was comfortable with and the F35 satisfied everyone. Gerhard Baier managing director of Band Pro Munich worked with rental company FGV Schmidle in Germany to secure four F35 cameras and Band Pro’s Jeff Cree traveled to Prague to help the crew transition to the F35 package. “Jeff was great ” says McCallum. “He made the F35 technology and SRW/Codex capabilities easy to understand. He also introduced us to the Sony Fiber system which was paired with Telecast’s fiber power a unit attached between camera and deck. This way John didn’t have to worry about batteries in the camera allowing for more freedom of movement and longer takes which were so important to tell this epic story. The service we got from FGV Schmidle was simply outstanding – the best we have ever had and all the guys at Band Pro worked really hard to make sure the crew got all the help they needed. It was a truly great experience for all of us.” Sony will feature its SRW-9000 camcorder which combines the HDCam SR format’s image quality with the versatility of a one-piece camcorder. Designed for television commercial and motion picture production 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. A range of option cards are available to add performance and features including: dual-link HD-SDI outputs and an extra AUX input; ability to capture and record images with variable speed (SR Motion capability) from 1 to 60 fps; and full-bandwidth digital 4:4:4 high-definition RGB recording and output capability. Sony will also feature the next generation of HDCam SR production technology with new products and planned upgrades ranging from acquisition and storage to archive and production efficiency including the SRW-9000 camcorder with an upgrade path to 35mm imaging and file-based production; the planned delivery of new SR memory solid-state media; and more cost-effective BCT-SR series tape pricing. JVC will showcase its ProHD line of camcorders. According to JVC the latest models in the series not only deliver outstanding image quality but also use affordable non-proprietary SDHC media and offer Apple Final Cut Pro native file recording. JVC will also showcase its new Vérité G Series of professional LCD monitors which feature 3G and dual-link HD/SD-SDI (1080p/60 4:4:4) inputs. The 17-inch DT-V17G1Z and the 24-inch DT-V24G1Z are designed for broadcast studio mobile and field applications that demand accurate color reproduction for critical image evaluation. G Series monitors feature a built-in waveform monitor with over-level function vectorscope with selectable size and position advanced audio level meter and LTC/VITC time code support. A new non-glossy LCD panel provides improved picture quality and maintains accurate color reproduction at wide viewing angles while JVC's 10-bit 1080p processing ensures the highest picture quality with less than one frame of latency. One highlight of Panasonic’s booth will be what it says is the world’s first professional fully integrated full HD 3D camcorder. The company showed engineering samples of the camera at the Consumer Electronics Show in January and will begin taking orders in April. The camera is scheduled to ship in the fall. In the new 3D camcorder the lenses camera head and a dual memory card recorder are integrated into a single body. The camcorder also incorporates stereoscopic adjustment controls which Panasonic says makes it easier to use and operate. The twin-lens system adopted in the camcorder’s optical section allows the convergence point to be adjusted. Functions for automatically correcting horizontal and vertical displacement are also provided. Conventional 3D camera systems require these adjustments to be made by means of a PC or an external video processor. Panasonic claims that its new camcorder however will automatically recalibrate without any need for external equipment allowing immediate 3D image capture. The company says its 3D camcorder will be offered at a much lower price than traditional 3D rigs. Panasonic also plans to offer a professional-quality 3D HD LCD monitor for field use as well as a professional HD digital AV mixer for live event production. The cameras will be made to order and are expected to cost $21 000 for the main unit. Arri will feature the Alexa its new digital camera system. The company says the Alexa is the first model in a new generation of digital cameras designed for features television dramas commercials and pop-promos. The Alexa is based on the Arri designed CMOS sensor which offers a base sensitivity equivalent to 800 ASA low noise and unsurpassed latitude that exceeds 13 stops. Nevertheless the main advantage of Alexa will be an easy workflow which will be announced at NAB. Cooke Optics Ltd and Thales Angenieux will announce a new working partnership.
Fujinon will unveil the HA14x4.5BE RM/RD a new high-end ENG-Style wide angle HD production lens designed for 2/3-inch cameras. It features an exclusive 2.2x extender that extends the focal length from 9.9 to 138mm. Without the extender the lens has a focal length of 4.5 up to a maximum of 63mm. The lens has a 14x zoom range and full remote control via an RS-232 serial data port (RD version) and a maximum relative aperture at 1:1.8 from 4.5mm to 41mm and 1:2.8 at 63mm.
Enhancements to the HA14x4.5BE RM/RD include minimized geometric distortion and improved corner resolution and contrast. It is well suited for the production of commercials music videos sporting events digital cinema applications and other productions requiring the highest image quality.
Fujinon will also show its series of PL Mount Lenses featuring the fastest T speeds available in a family of zooms with unprecedented color matched 4K optical performance. Fujinon will also roll out its latest products related to 3D sports production. Post-Production Dolby plans to publicly unveil what it believes is a ground-break imaging product for the post-production community. DVS will showcase the newest additions to the Fuze Atomix and SpycerBox Ultra and what the company is calling significant advancements that have been made to Clipster and Venice. Grass Valley will unveil the latest version of its MediaEdge digital signage and on-demand content delivery platform. is now more versatile and useful than ever. The IPTV-based platform now features new file management and distribution capabilities for the system’s server software set-top box decoders and live MPEG-4 encoder. Grass Valley will also unveil the latest updated version of its Edius PC-based nonlinear editing software which now includes real time full resolution AVCHD editing. “Edius has proven to be particularly successful in news editing and professional production but is also being used for independent filmmaking commercial production creation of video exhibits for court and other applications ” says Jeff Rosica senior vice president of Grass Valley. “The new features in Edius help streamline the AVCHD workflow for potentially thousands of EDIUS users who are working with the new generation of smaller lightweight camcorders that capture images with this format.” Marquise Technologies will introduce its RAIN color-grading system which is powered by Nvidia’s Quadro Digital Video Pipeline. RAIN stands for Radically Advanced Imaging N-gine. ,1634
Basketball Jones,2010-04-02, College basketball fans got a real treat this month when the NCAA Men’s Final Four semifinal and national championship games were all available live in 3D in movie theatres across the country. CBS Sports teamed up with the NCAA LG Electronics USA and Cinedigm Digital Cinema to present for the first-time event. The broadcasts were available live in nearly 100 Cinedigm Certified Digital Cinemas nationwide. Fans attending the festivities in Indianapolis could also view the games in 3D on LG's LCD HDTVs at locations throughout Lucas Oil Stadium and at the NCAA's interactive fan event Bracket Town refreshed by Coca-Cola Zero. Announcers Dave Ryan and Steve Lappas called the action. CBS Sports has always been on the forefront of new technology to enhance the viewing experience says Ken Aagaard executive vice president operations and engineering CBS Sports. Through our partnership with the NCAA and LG and the technological innovations of Cinedigm we are excited to be able to present Men's Final Four weekend in 3-D offering fans an exciting and different way to view a major sporting event. Bringing the Men's Final Four to consumers in 3D is a prime example of how LG strives to deliver something better – superior technology combined with an unparalleled viewing experience – for consumers says Peter Reiner senior vice president marketing LG Electronics North America. As the official 3D Sponsor we are excited to partner with CBS Sports to bring consumers this immersive 3D viewing experience and tap into the passion of college sports fans throughout the country. At halftime audiences had the chance to see the 3D premiere of We Are The World 25 For Haiti which was a remake of the classic 1985 We Are The World. The theatre experience is changing dramatically says Bud Mayo chairman and CEO of Cinedigm. The Men's Final Four is a signature event with millions of fans clamoring to be among the few who get to see it in person. Cinedigm's experience having brought the 2009 BCS Championship and the 2009 NBA All-Star Saturday Night events to theatres in live 3D has shown us that fans who attend will feel as though they have courtside seats. We're proud to work with our technology partner Sensio and with our growing national network of top-quality theatres to help bring fans one step closer to courtside. Cinedigm Digital Cinema www.cinedigm.com LG Electronics www.LGusa.com ,1642
How to Train Your Audience,2010-04-02,Pricing as anyone in business knows well is always one of the biggest challenges. Make the price too high and you run the risk of driving away business. Make the price too low and you run the risk of devaluing your product or service. When How to Train Your Dragon underperformed at the box office its opening weekend there was widespread speculation that a significant factor was the recent decision by some major exhibitors to raise ticket prices by as much as 26 percent. There is no way to know for sure what caused the movie to do less well than expected but if you enter the phrase “movie ticket prices” on Twitter you’ll discover a lot of consumer anger. The challenge for exhibitors now is how to train your audience. Of course another factor is that there is still a shortage of available 3D screens and both Avatar and Alice in Wonderland are occupying theatres that might have otherwise carried Dragon. But that was the same problem that Alice faced and it fared well despite the situation. By almost all accounts Dragon is a good movie although most of the reviews I read went out of their way to note that 3D wasn’t used that effectively in the movie and wasn’t worth paying extra. And as Brandon Gray wrote in Box Office Mojo in its opening weekend the film earned “$43.7 million on approximately 7 000 screens at 4 055 theaters but it fell far short of the last DreamWorks Animation 3D feature Monsters Vs. Aliens which opened to $59.3 million on the same weekend last year. That along with a somewhat tepid start for Hot Tub Time Machine led to a 12 percent drop in overall business from the same timeframe in 2009.” This was not good news for DreamWorks Animation. Lazard Capital Markets analyst Barton Crockett told USA Today the morning of Dragon’s release “Anything below $55 million we believe would weigh on [Dreamworks Animation] shares.” Many factors probably contributed to Dragon’s box office results. First of course is the fact that we’re still dealing with a poor economy. Second it should come as no surprise that the initial reaction to the recent price hike would be negative. Third Avatar has spoiled audiences and again many reviews that noted that the 3D effects were not that critical to the enjoyment of Dragon. Fourth the movie couldn’t get as wide a release as possible because of the current shortage of available 3D screens. Fifth and probably the least important is the fact that the movie opened during the NCAA men’s basketball tournament which is very popular this year. In an email response to my request for an interview on the subject of the price increase Sun Dee Larson AMC Entertainment vice president corporate communications wrote:
“Across our circuit AMC offers guests many ways to experience and enjoy a movie. Pricing varies based on many factors including location time of day day of week and of course the sight and sound presentation experience. The range of sight and sound presentation experiences includes traditional 2D 3D our proprietary ETX ETX 3D IMAX and IMAX 3D. The technology production and associated costs behind films presented in the new and emerging formats do indeed cost more and it is inevitable some of those costs will eventually appear at the box office. Even as those escalate we have committed to hold the line as much as possible on our 2D pricing as we want to continue offering great value to our guests.” She declined further comment. Regal did not respond to an email request for comment. In an email Cinemark spokesman James Meredith said earlier press reports about his company were inaccurate: “Cinemark did not raise prices last week.” He did not respond to further questions on the topic. This issue is so sensitive that no competing exhibitor wanted to comment on the record either. The head of marketing for one major competitor of AMC Cinemark and Regal was also trying to understand why Dragon had no done the business people expected and said privately that he thought the price hike had hurt Dragon but added that his company plans to raise ticket prices later this year. Exhibitors knew this could happen because there has always been resistance to price increases. They also knew that as more theatres get 3D screens the chances of getting audiences to pay a premium for 3D will diminish. Why pay Theatre A an extra two-five dollars for a 3D movie when Theatre B a few miles away is showing it for less? They also have expensive new technology to pay for to remain competitive. Thus the need to boost ticket prices now across the board. There was mixed reaction from the Hollywood studios to the hike in ticket prices but the move does have its supporters. Dan Fellman president of domestic distribution for Warner Bros. told the Wall Street Journal The exhibitors are trying to push the needle on ticket prices and see where it ends up. So far charging a $3 or $4 premium has had no effect on consumers whatsoever so I'm in favor of this experiment to raise prices even more. There may be additional revenue to earn here. Content is always has been and always will be king. That is a cliché but it’s a cliché because it’s also true. While not enough in my mind has been written about the absolutely brilliant marketing campaign that contributed to Avatar’s success my guess is even the people who created and executed that campaign were stunned and thrilled by the breathtaking size if its success. People around the world went to see Avatar – in some cases multiple times – because it touched them. And they understood that they had never seen 3D quite like that. There are several movies due out in the weeks ahead that in my mind at least fall into the category of must-see movies and will do good business regardless of the price of admission. I can name three: Harry Potter Iron Man 2 and Toy Story 3. As the old saying goes this too will pass. ,1644
Documenting Crimes Against Nature,2010-04-02,The Oscar-winning documentary The Cove follows an elite team of activists filmmakers and freedivers in a covert mission to penetrate a remote and hidden cove in Japan where they uncover a horrifying microcosm of devastating ecological crimes; a massive slaughter of more than 20 000 dolphins and porpoises every year and the subsequent sale of their mercury tainted meat. In December 2008 Psihoyos and Fisher arrived at Final Frame Post with their edited documentary ready to create the digital intermediate for the film which premiered at the 2009 Sundance Film Festival. They had an amazing story in the can along with an extensive amount of underwater night and espionage-heavy footage. The unforgettable story of The Cove which was directed by renowned photographer Louie Psihoyos and produced by Paula DuPré Pesmen and Fisher Stevens is inspiring audiences worldwide to take action. The film puts viewers in the water and in the drama with the filmmakers with breathtaking impact. The Cove is the first nomination and win for Psihoyos. It was edited by award winning editor Geoffrey Richman. Utilizing ingeniously camouflaged and planted equipment the production purchased Sony PDW-F350L HDR-SR1 cameras thermal imaging and night-vision cameras. Some of the footage was also shot from unmanned aerial drones and a blimp equipped with a remote-controlled camera. Sony HVR-A1U HDV cameras were used where the filmmakers had to stay lightweight as well as Sony HVR-Z1U for the covert underwater filming. The team began shooting in 2005 with most of the scenes shot in Taiji Japan. “The Cove is one the most moving documentaries I’ve ever worked on. It is full of beautiful jaw-dropping imagery terrifying shots angry crowd scenes and intriguing footage ” says Final Frame Post co-founder and senior colorist Will Cox. “It is a call to action and a spy thriller at the same time while also a gorgeous testimony to the natural world. However we had a challenge ahead of us. The very nature of shooting underwater is an extremely changeable malleable situation. Coupled with its innovative acquisition methodologies action footage and the dramatic nature of the cinematography there was significant work to be done in color grading and finishing the film.” It was up to Cox to make the images everything they could be pulling clarity out of murky waters poorly lit interiors exteriors and news-style production while doing service to this important story. Digital Vision’s Nucoda’s Film Master played a pivotal role in Final Frame’s successful finish for the film. “The tools of the Film Master color grading and finishing solution was critical in my ability to create these images and we needed an integrated toolset to finish the film on a very short deadline ” says Cox. “The bulk of the footage was shot at 59.94 and needed to be converted to 23.98. The documentary also draws on a large quantity of archive footage that had to be incorporated into the overall look and feel of the story. It was imperative that we were able to work on this project in one place at one time and the Film Master provided us with the tools to do so.” Martin Bennett vice president worldwide marketing for Digital Vision says “When The Cove premiered at the 2009 Sundance with rave reviews we knew that this was an important story and we were honored to play a role in its success. Will Cox and the Final Frame Post team consistently work on interesting and important documentaries; we look forward to working with them in their ongoing work supporting important filmmakers and their stories. We congratulate Louis Psihoyos Fisher Stevens Paula DuPre Pesmen and their entire team of brave and brilliant filmmakers.” Digital Vision www.digitalvision.se The Cove http://www.thecovemovie.com/ ,1645
Slovakian Kino Centrum
,2010-04-02, The state-owned Kino Centrum in the large Slovakian town of Michalovce has recently undergone a major refurbishment. The City’s Department of Culture brought in JBL distributor AudioMaster which represents all Harman Pro brands in the Slovak and Czech Republics. The conversion at Michalovce is not to full digital but an upgrade to stereo analog with a Dolby digital head. As a result it now supports Dolby SR Dolby Digital and also Dolby Digital Surround EX formats.
Having removed the old system AudioMaster specified a conventional L/C/R set up behind the screen using JBL’s ScreenArray series cinema loudspeakers. This comprised three 3722N enclosures complemented by 4645C 18-inch high-power subwoofers mounted close to the floor.
Providing the balcony area surround sound are quantities of two-way JBL 8320 cinema surround speakers with JBL 8100 Series ceiling speakers for under-balcony and top of balcony infill supported by further surface-mount JBL Control 28’s positioned left and right at the top of the balcony.
In the equipment rack the cinema specialists then specified five Crown DSi 1000 cinema amps and an XLS202D—as well as a Dolby CP650 processor.
Two of the DSi 1000’s are used for the screen channels a further DSi 1000 is run in bridge mode for the Low Frequency Effects (LFE) channel while others are assigned to various left right and rear channels of the JBL 8320’s and Control 28’s. The XLS202D powers the JBL 8100 back channels (under- and top-balcony) and finally a Crown DSi-8M handles the projection room monitoring.
AudioMaster has built a reputation for installing cinema systems from single-screen one-offs to complete multiplex chain rollouts; here the company worked closely alongside KVEL which installed and commissioned the 35mm Meopta Meo5XB projectors.
Says AudioMaster’s project manager Michal Smolárik “Aside from JBL’s dedicated ScreenArray system using the 8100 Series and Crown XLS202 provided an economic solution because in the original installation no provision had been made for sound at balcony and under balcony level. This has made a vast improvement and the client is delighted.”
AudioMaster www.audiomaster.cz ,1647
Nevafilm Research on Digital Cinema in Russia,2010-04-02, By Xenia Leontyeva and Svetlana Mudrova As of December 31 2009 Russia has 2 102 modern screens in 792 cinema complexes (with an average of 2.7 screens per complex). There are now 353 digital complexes with 351 (99 percent) equipped to show 3D exhibitions. Digital screens are in operation at 273 cinemas in 103 Russian cities. Growth in the digital film distribution market amounted to 288 percent for the year. By the end of 2009 34.5 percent of the country's cinemas were equipped for digital exhibition (16.8 percent of all screens). In 2010 we estimate that the market share for digital screens could reach 25 percent for modern cinemas in Russia (more than 570 screens). The primary reason for growth in the digital screen market was the plethora of 3D films released (a total of 19 in 2009) with each major 3D release generating a wave of new screen openings. The most important wave preceded the December launch of Avatar (more than 100 screens opened). However it remains an open question whether installation of digital technology will continue at this rate in 2010 even considering the ever-growing volume of new 3D releases. The majority of digital screens in Russia belong to federal cinema networks (40 percent) although independent cinemas are not far behind (at the end of 2009 independent players accounted for 36 percent of digital screens). The regional networks are more cautious about introducing new exhibition technology: their share of the digital distribution market is less than 10 percent. Taking into account all market players only 17 percent of screens have been equipped with digital exhibition technology. The federal networks have equipped more than half of their cinemas while other market players have equipped less than 30 percent. Some of the federal and regional networks do not yet have any digital screens. This indicates that there are still prospects for growth in the Russian digital exhibition market. Cinema Park and Luxor lead the way in the digital exhibition market. However in 2009 other major exhibitors have begun actively installing digital equipment. In Russia the most popular digital exhibition systems are Christie projectors (53 percent of the market) Dolby Digital Cinema servers (67 percent) and Dolby 3D Digital Cinema systems (66 percent). The leading digital exhibition equipment integrator is Nevafilm Cinemas (35 percent of digital screens). While the total number of films released in Russia fell by 8.7 percent in 2009 (324 films were released including 78 Russian pictures) the number of digital releases is growing: last year as many as 96 films were released in digital format including 19 produced in Russia. 15 3D films were released in Russia in 2009. The number of digital copies is also on the increase: last year digital accounted for 7 percent of all prints in distribution (compared with 1.7 percent in 2008). Most digital releases are Hollywood films and 3D pictures most of which are wide releases (all pictures with a total circulation of over 600 prints and 67 percent of films with 300 - 600 prints in circulation). Surprisingly of 32 pictures with a narrower release 15 appeared in digital only (including 6 Nevafilm Emotion alternative programmes) and 8 of these were 3D films. This suggests that independent distributors are finding it harder and harder to break into the digital exhibition market. Most digital releases are Hollywood films and 3D pictures most of which are wide releases (all pictures with a total circulation of over 600 prints and 67 percent of films with 300 - 600 prints in circulation). Surprisingly of 32 pictures with a narrower release 15 appeared in digital only (including 6 Nevafilm Emotion alternative programmes) and 8 of these were 3D films. This suggests that independent distributors are finding it harder and harder to break into the digital exhibition market. 3D film receipts in the Russian film distribution market exceed those of 2D screenings by a considerable margin but their share is gradually falling (although this depends on the film: James Cameron's Avatar released in 2010 broke all records both for the share of 3D receipts per screen compared with 2D screens (by more than 7 times) and for duration of exhibition (even after the release of Tim Burton's Alice in Wonderland many cinemas continue to show Avatar on their digital screens). At the same time according to Nevafilm Research in 2009 the average ticket price for 3D screenings in Russia rose steadily. In March regular tickets cost less than 150 roubles ($4.40) while a visit to a 3D film was priced at 207 roubles ($6.20); in July the price for a regular screening was more than 170 roubles ($5.60) while 3D films cost an average of 240 roubles ($7.60); in December the exhibition of longer 2D versions of Avatar cost more than 200 roubles ($6.70) and 3D versions cost more than 290 roubles ($9.60). At the same time since the beginning of the year the average level of price increases for 3D screenings has fallen nationwide: if the percentage increase for the first 3D digital release in Russia (Beowulf in 2007) was 69 percent for Journey to the Center of the Earth – 41 percent and for Bolt – 43 percent (2008) this year began at +42 percent in March and continued at a forty-percent rate in July. However in December the staggering Avatar put paid to predictions of a further drop in the difference between ticket prices: the average price increase for three-dimensional exhibitions of this film stood at 47 percent for the first weeks of screening. Exhibitions on Russian digital screens over the past year were not limited to blockbusters and 3D films. The first alternative content entered distribution exhibited not only as traditional repertory (over the course of a week) but also as unique cinema events where a singular exhibition helped cinemas stand out from the competition. In 2009 Nevafilm Emotion presented three popular musical projects – Iron Maiden: Flight 666 Tribute to Pavarotti: One Amazing Weekend in Petra KINOaktsiya - The Last Hero to commemorate Victor Tsoi – and a series of opera performances by La Scala including La Traviata Mary Stuart and Aida. Nevafilm Company was founded in 1992 and today has more than 60 engineers and managers working for the company full time with more than 400 people being invited every year for creative work. Nevafilm Company is headquartered in St. Petersburg and has offices and recording studios in Moscow and Kiev. The company encompasses Nevafilm Studios sound and dubbing studios in St. Petersburg Moscow and Kiev (Ukraine); Nevafilm Digital a digital cinema laboratory in St. Petersburg for mastering and DCP; Nevafilm Cinemas a cinema equipment department which has supplied digital projection systems for 35 percent of Russian d-screens; Nevafilm Emotion distributor of alternative content for Russian digital cinemas which to date have included a series of La Scala operas as well as rock and pop concerts and documentaries; and Nevafilm Research a research department focused on Russian cinema exhibition business. Since 2003 the company has published two reports per year on the status of the Russian cinema market. Nevafilm www.nevafilm.ru © 2010 Nevafilm Research™ ,1649
Straight Outta L.A.,2010-04-02, The rapper Ice Cube has directed a portrait of the 1980s’ Los Angeles Raiders entitled Straight Outta L.A. The Director of Photography was Alex Van Wagner. Straight Outta L.A. covers the epoch in the Raiders franchise when owner Al Davis beat the NFL in court and moved his team from Oakland to Los Angeles. A production of Hunting Lane Films of West Hollywood Straight Outta L.A. will air next month as part of ESPN’s 30 for 30 film project a unique undertaking to celebrate the network’s 30th anniversary by engaging well-known filmmakers to create documentaries centered on the last 30 years in sports. In 1995 after 13 seasons in Los Angeles Davis moved the team back to Oakland. With a squad as colorful as its owner the Raiders captivated a large number of African-American and Hispanic fans in L.A. at a time when gang warfare immigration and the real estate boom were rapidly changing the city. The L.A. Raiders morphed into a worldwide brand as the team’s colors swagger and anti-establishment ethos became linked with gangsta rap and the hip-hop scene that was permeating South Central Los Angeles. Director Ice Cube was not only witness to this evolution he was also a part of it as a member of the notorious and influential rap group N.W.A. Still a die-hard Raiders fan Ice Cube explores the unlikely fleeting marriage between the NFL’s rebel franchise and America’s glamour city. The one-hour documentary is laden with interviews with musicians pop culture commentators and football luminaries. Subjects included former N.W.A. member MC Ren (N.W.A.’s album Straight Outta Compton marked the beginning of the gangsta rap era and is an obvious influence on the project); producer/rapper Snoop Dogg; football’s John Madden (who coached the Raiders for 10 seasons) and former players Greg Townsend and Marcus Allen. Location work encompassed shooting Ice Cube at the L.A. Coliseum the site of the Raider’s Southern California play as well as numerous B-roll scenes that will play as vignettes during the interviews. The project was shot with Panasonic VariCam 2700 P2 HD camcorders.
DP Van Wagner has worked broadly with Panasonic tape-based HD cameras notably on reality programming but Straight Outta L.A. marked his first experience with P2 HD camcorders. The production rented two AJ-HPX2700s and made supplemental use of an AJ-HPX2000. The interviews were shot against a white cyc with one HPX2700 used for a master wide shot the second for close-ups. In the field Van Wagner used the two P2 VariCams for cross coverage.
Van Wagner operated the A camera with AC/gaffer Mark Alvarado on the B camera. The small crew also included a producer and assistant editor. The DP shot in AVC-Intra 100 at 720/24pN making extensive use of the HPX2700’s variable frame rate capabilities not only for classic slow motion but also shooting at 1-fps to simulate traffic streaking through Los Angeles and performing in-camera ramps at 1-fps to 24-fps. The HPX2700s were equipped with Canon Cine Zoom and Zeiss DigiPrime HD lenses and with a wide-angle fisheye lens for stadium work.
“The HPX2700 is an amazing camera especially for shooting sports ” says Van Wagner. “Using the AVC-Intra codec we’ve consistently obtained beautiful imagery and been able to maximize the recording capacity of the P2 media.”
“The P2 VariCam was well received by the entire crew—director producer editor—who all love the footage ” he says. “The HPX2700 would be a top choice of mine for anything sports-related or for documentary-style reality shoots independent films or commercials.”
On location P2 material was off-loaded into a MacBook Pro; the assistant editor prepared redundant Xserve G4 drives for Hunting Lane’s Dan Marks who is editing Straight Outta L.A. in Final Cut Pro 7. ,1650
Inside Al-Qaeda: The Oath,2010-04-02,Zeitgeist Films has announced the U.S. theatrical premiere of Laura Poitras’ The Oath a documentary about the divergent paths of Osama bin Laden’s bodyguard Abu Jandal and driver Salim Hamdan – the first prisoner detained at Guantanamo Bay to face trial by military commission. Currently screening at the 2010 New Directors/New Films series presented by the Film Society of Lincoln Center and MoMA and winner of the Sundance Film Festival award for Best Documentary Cinematography The Oath will open at New York’s IFC Center on May 7 followed by a roll out to select U.S. cities. Academy Award-nominated director Laura Poitras brings to audiences a singular work of high-risk filmmaking with this gripping documentary political thriller shot on location in Yemen. The Oath is the cross-cut tale of two men whose fateful meeting ultimately propelled them on very different courses with Al-Qaeda Osama bin Laden September 11 Guantanamo Bay Prison and the U.S. Supreme court. Abu Jandal is a taxi driver in Yemen and a free man while the man he recruited his brother-in-law Salim Hamdan is the first man to stand trial before the controversial Military Commissions at Guantanamo Bay Prison. Abu Jandal and Hamdan’s intertwined personal trajectories – how they became bin Laden’s bodyguard and driver respectively – act as prisms that serve to explore and contextualize a world which has confounded the Western media. As Hamdan’s trial progresses his military lawyers challenge the court system while back in Yemen the charismatic and elusive Abu Jandal dialogues with his young son Muslim students and journalists in a chilling revelation of his personal post-9/11 belief system. The Oath offers unsettling glimpses of the international impact of the U.S. War on Terror and a rare window into the world of Al-Qaeda. Zeitgeist Films www.zeitgeistfilms.com/theoath ,1654
How to Critique 3D,2010-04-02, By Matthew DeJohn Vice President/VFX Producer In-Three Inc. With the flood of 3D content coming no fewer than 25 films this year it is important to understand how to critique 3D technically and artistically. What does good and bad 3D look like? What causes 3D to be bad or good? Admittedly exposing some of the dirty secrets behind creating 3D may seem like a bad idea for someone working in the 3D business like myself. However my hope is that in the current rush to get as much 3D on the screen as possible that education will help keep quality high. As opposed to broad brush critiques that hurt the 3D industry as a whole focused and educated critiques will drive the industry to create the high quality work that we all want to see. To critique 3D content it is important to understand the three methods of creating 3D (CG Stereo capture and conversion) their technical issues how to identify these issues and what 3D should be achieving artistically. Once you’re armed with this knowledge you should be able to fully critique the massive amounts of 3D content coming at you. Computer Generated 3D Animation CG animation is arguably the most mature and refined mode of 3D content creation. Most of the 3D work coming out of this area is of very high quality. However there are still some technical issues that can arise. As an overview CG animation creates 3D by capturing a shot with a pair of virtual cameras. Also multiple pairs of virtual cameras are often used to make most effective use of the available depth. For example the amount of shape you perceive for a particular character may be manipulated independently from the rest of the elements in the shot. Once the scene is rendered from these virtual cameras every element in the scene that has geometry will appear 3D. Since these cameras are essentially “perfect” and every parameter is controllable in the computer these shots should be technically perfect. However many times elements are used that do not have geometry such as matte paintings (They appear as painted backdrops). Matte paintings can be used for just about anything that is not-animated such (skies cityscapes The actual foreground environment etc). Because matte paintings lack geometry they will appear flat unless steps are taken to remediate this issue (see 2D to 3D conversion). This issue is most easily spotted in stereo (with 3D glasses). The matte paintings in the shot may look falsely flat because you cannot perceive shape or separation where you would expect to. Stereo Capture The stereo capture approach is likely to be the most widely used. Stereo capture is achieved with a pair of cameras arranged in a side-by-side fashion or in a beam-splitter rig. The side-by-side arrangement aligns cameras similar to the way our eyes are aligned. But there are limits to how close the cameras can get together and this limits the director’s control of the depth of the scene. The beam-splitter rig alleviates this problem by allowing the cameras to capture perspectives that are closer than the cameras can physically get. One camera points forward while the other one is angled down capturing the reflection of a scene. The core of technical issues that can arise with stereo capture arise from imperfect camera alignment out of sync cameras the fact one camera may be capturing a reflection of the scene and the finality of stereo capture. Finality meaning what you capture is largely what you get in terms of depth. Improper image alignment is a common stereo capture issue that is caused by misaligned cameras or shots with uncorrected convergence. When viewing in 3D this issue may make it difficult for your eyes to lock onto an object or it may cause you to get a headache. An easy way to identify alignment issues in the theater is to take off your glasses and try to spot an area of high contrast. You may see that a bright spot is a little higher for one eye than the other. Exposure difference between the two cameras is another technical issue that can arise. This may be caused by an unmatched exposure or more commonly by the nature of the beam splitter rig. Because one camera in a beam splitter rig is capturing a reflection of the scene it will likely differ from the camera capturing the scene straight on. Exposure differences when viewed in 3D usually look like the image is glowing or has a sheen to it. Bright objects such as glint off chrome lens flares and spotlights often create technical issues during stereo capture. Glint will often appear to be a different shape in each eye. This will make it hard for your eyes to lock on to and it may just look messy. Lens flares often look odd in stereo because they are an effect specific to the lens construction. When captured they are actually “invert” and sink into the rest of the scene. This usually looks confusing and takes the viewer out of the story. When the camera points at a spotlight the spotlight often has a bright star pattern at its source. In stereo the star pattern will often be rotated differently in each eye making it hard to lock on to and uncomfortable to view. A variety of sync issues may arise if the focus zoom or the shutters are not perfectly synced. In stereo focal differences may make it feel like one lens of your glasses is smudged. If the zoom of the cameras are not synced it will be difficult to lock on to an element. If you take off your glasses you should see an image that almost looks like a radial blur. In this case there will also be vertical alignment issues which are a large source of eye fatigue. If the shutters are out of sync each camera captures the scene at a slightly different time. With a falling object it will appear farther down in one eye creating a vertical alignment issue. With a horizontally moving object this sync issue will make the object appear to be floating or sinking. This issue may also make the image look stuttered. Too much depth in the screen (beyond “infinity”) is a much-debated technical issue that can arise during stereo capture. “Infinity” is defined as the point at which elements in the left and right are separated by 2.5 inches (the width of adults’ eyes) when projected. Some say this limit should never be exceeded since doing so means the viewer’s eyes start to diverge or go “wall-eyed”. Others say there is a certain amount of flexibility to that rule or that it’s not a big deal if the background is out of focus. It suffices to say that the point at which there is too much in-screen depth is the point where the viewer can’t comfortably lock onto distant in-focus objects. Looking at the 3D image without glasses can identify this issue. Look for distant objects like mountains or spotlights; If the doubled-image of the mountain appears separated by many inches or feet the background is probably too far away. 2D to 3D Conversion There has been a lot of chatter lately about the quality of 2D to 3D conversion. This criticism should be embraced and used as an impetus to improve but it should not be misconstrued to suggest that 2D to 3D conversion has inherent quality deficits. Quality is controllable and many of the technical issues that can arise during conversion come from the lack of attention or scrutiny to some phase of the process. The conversion process breaks down into 3 broad stages: roto/matte work depth creation and paint. During roto/matte work mattes are created for the major layers of depth. Usually that means the layers have distinct separation in space. In simple close-ups there may be a few as 3-4 major layers but in more complex crowd shots there may be dozens of distinct layers. Depth creation can be achieved in a variety of ways but it suffices to say that the goal is to create one or more new perspectives of the shot with the aid of geometry that approximates the objects in the scene. Paint work is necessary because the new perspective reveals background elements not captured by the camera. Background gaps must be filled with realistic imagery. Visual comfort can be affected when any of these artistic stages are shortchanged. A “rubber-sheet” effect is often observed when corners are cut to reduce the cost of conversion. In an attempt to bypass detailed matte and paint work depth is created with no distinct separation between elements. Without glasses it will appear that there is little separation between the left and right images meaning the image will not look very blurry. In stereo these shots will appear unrealistic and the edges of foreground elements will wrap unnaturally back to the background hence a “rubber-sheet” effect. In addition to this smaller elements such as distant characters may reside at the same depth as closer characters. This approach usually does not achieve the expansive feel or accurate sense of the environment that is present in good 3D films. A “cardboard cutout” effect is a very common issue that can arise with 2D to 3D conversion. This issue arises when characters or other elements are not given enough shape. This lack of shape is usually done to cut costs by avoiding detailed models for these characters. The thought being surely being that the less shape the character has the less obvious modeling mistakes will be. While the optimal amount of shape is a matter of taste characters should not look like cardboard cutouts. This is generally a fairly easy effect to see in 3D. Luminance-based 3D is a shortcut that often yields poor results. This technique is often applied to elements such as flames or waves bringing the lighter elements closer to the audience than the darker elements or vice-versa. A 3D effect is created but the results are often unrealistic and contradict the motion of that element. For example the dark side of a wave may actually be closer than the light side or an explosion with smoke and fire may have dark and light shading that are actually at the same depth. Other deficits in the depth process can be attributed to just plain inaccuracy. There are a variety of reasons for this but most often it is due to the lack of detail when modeling scenes depth or inaccurate interpretation of the scenes depth. If there is not enough detail in the model the scene will look overly simplistic and rough. If the interpretation of the depth is inaccurate the depth choices will conflict with the depth cues our brain gets from the overall image. For example the size of characters in a shot tells us who is closer to the camera or the depth of field can tell us what is close to the camera. Deficits in the depth process are most easily identified in stereo. However it does take some practice see past the 2D image to understand what’s wrong with the depth. Often it will just feel cheap unnatural or fake leaving you trying to figure out what is wrong instead of being immersed in the story. A crane shot of a tree or foliage is often the easiest place to see depth issues. In 2D a crane shot reveals which branch is closer just by its motion relative to the other branches. In 3D the depth choices have to accurately compliment this motion. This can require hundreds of layers of depth. Another place to look for depth issues is at the edge of characters. Often the edge of a character will appear to roll back unnaturally. This is due to inaccurately modeled or poorly matched-animated geometry. Acute stereovision definitely helps to identify these issues beyond seeing that something “just looks wrong.” A practiced viewing technique can also help to make these issues “pop.” When viewing a 3D shot close one eye and then open it again. The scene will “pop” from 2D to 3D and there may be areas that you’d expect to pop forward that don’t or vice versa. When the matte process is short-changed it is fairly easy to see. If it’s bad enough poor matte work can make a live-action shot look like a bad composite shot! Flyaway hair may be completely removed. Hair may fallback to the background. Holes in trees fences or other elements may appear to pull the background forward. Even transparencies may be completely ignored. If a transparency such as motion blur is not properly treated the motion blur area will appear to fall back to the background or the background will appear to stick to the foreground character. This can create a distorting or watery effect. The same phenomena can happen with shallow depth of field. Another symptom of poor matte work is when moving characters appear to strobe. This is usually due to a hard-edged matte. Deficits in the paint process usually mean the process has been bypassed or performed to a low quality. Foreground elements may appear stretched streaked dead/static or watery. They may have artifacts they may strobe or transparencies such as smoke may appear flat. In an automated process pixel-repeat or pixel-stretch is often used to fill in missing background information. This means the last pixel on the edge of a foreground is repeated until it fills the missing background. This will often look like an artifact or a blurry or messy edge. If you see a “dead” or static shot it may mean that a single matte painting was used to paint the background and the natural motion of the background was sacrificed (like windblown bushes or film grain). Elements that strobe are likely missing diffused edges that have been painted out rather than properly treated for transparency. When transparencies such as smoke appear flat it is often because the paint process has been short-changed. Artistic Critique The most subjective part of critiquing 3D is of course the artistic side. There are many schools of thought and contradictory rules. Some artistic approaches seek to ensure that the focal element resides at screen level. Others insist infinity should be the controlling force and should always reside at 2.5-inches of separation on the screen. Others try to find a middle ground that ensures a smooth transition of the focal element from shot to shot while not massively pushing the scene past infinity. All of these approaches can yield good results in the right hands. Artistically it becomes important for the director to know what they wish to achieve with 3D. Let’s look at genre as a potential starting point to artistically critique a 3D film. A goal in 2D for an action/sci-fi film such as Avatar is to create a realistic alien world. To do so the world must make logical sense and we must be immersed. For Avatar since the film is also about feeling compassion for the aliens the alien world is supposed to be awe-inspiring and worth fighting for. These goals for the 2D action/sci-fi film match nicely with respectable 3D goals. The 3D for an action/sci-fi should logically make sense be immersive and be awe-inspiring. All of these 3D goals underline the same story goals of the genre. Conversely a goal for a slasher movie is to make the audience jump. So the 3D version should be aggressive. Instead of an immersive look the 3D might be used to suddenly encroach on the audiences’ space to make them jump. In a psychological thriller the audience should experience a visceral connection with the main character. Just like composition angle lighting and movement is used as a visual metaphor that helps the audience understand the character’s mental state or predicament 3D can be used to the same end. In a drama using 3D to portray the world realistically may be the most objective. In an animation or comic book movie where interesting visual style is a staple of the genre stylized 3D is probably a good artistic goal. Understanding some 3D-specific phenomena may also help us critique the artistic side of a 3D film. “Miniaturization” is one of these. Often it makes the scene feel small like the diorama you made in grade school. Ironically the more overall depth the scene has the more miniaturized it will appear. This is the case because in real life we can only perceive depth within a relatively small range. In other words we perceive distant objects as “flat” or lacking dimensional shape. For example we can’t perceive (in stereo terms) the separation between buildings in a skyline or the shape of the moon. Another way to conceptualize this effect is by thinking of a sea battle between battleships. The battleships will appear miniaturized when appearing on the audience side of the screen. Our brain tells us that if the battleship is in the theater with me it can’t be that big. It must be a model because it has to fit inside the room. Conversely “flattening” may occur when there is not enough depth in a scene or object. If the audience doesn’t perceive depth when they expect to such as with a close-up of a person’s face the person will appear “flat.” Or if a shot of an expansive environment like a vista shot plays close to the audience it may appear overly flat. As an object gets closer to us our brain expects to see more shape. As an object plays farther from us our brain expects to see less depth in the object. So if the vista shot plays near the screen it looks like a painting on a wall. But if that same vista shot plays at infinity it will appear expansive and huge. Depth continuity is also an area that should be touched on a bit more. The primary goal of depth continuity is to ensure the comfort of the audience. If your eyes don’t feel tired after viewing the entire movie it probably had good depth continuity. A secondary goal of depth continuity is to present a consistent world. As a basic approach characters in various framings (close-up medium etc.) should have roughly the same amount of internal volume or shape from shot to shot. For example if one character appears flatter than the rest during a dialogue scene this inconsistency may pull the audience out of the story. This of course is subject to the artistic goals of the scene. In “Alice in Wonderland” the real world was supposed to play flatter than Underland because that mirrored Alice’s boring existence in the world. Hopefully with all this ammunition you can not only say if a 3D movie had good or bad 3D but you can also explain where it went wrong or right. We should all hold this new industry to a high level of technical and artistic quality. It is possible to remediate and completely avoid the technical issues explored here. Ideally the technical issues should be so minimal as to be invisible to the audience. Artistically we should push for the industry for vision that compliments and expands the narrative of 3D movies. ,1659
QLab in Mumbai Installs Five Scratch Systems,2010-04-03, India’s QLab has installed five Scratch digital intermediate systems which will be deployed across its DI/photochemical lab and burgeoning digital film school. ,1662
Digital Dandelions,2010-04-30,It was no surprise that stereoscopic 3D was the dominant topic of this year’s National Association of Broadcasters convention and in particular of the Digital Cinema Summit which was held as always the weekend before the main convention gets underway. This is the year of Avatar and the Summit’s theme after all was 3D: Cinema & Home (as if all the S3D issues in both those markets are the same). What did surprise me was that seemingly every one of the thousands of exhibitors at the show had some 3D technology to offer and in a troubling development everywhere you looked you could find yet another person who claimed to be “a 3D expert.” To me those so-called experts are this spring’s production business equivalent of dandelions: often pretty to look at if you don’t know what they really are but in fact at best a nuisance and at worst something of a menace. And as with dandelions each new day seems to bring even more. I left the Summit frankly discouraged by a lot of what I saw. In my mind the event did not measure up to previous years and in part this was because this year’s Summit had very little to do with digital cinema which last time I looked was the name of the event. I can understand why the organizers were eager to jump on the 3D bandwagon but the reality is 3D in the home has virtually nothing to do with 3D in movie theatres. Even worse the absence of more digital cinema discussion at what has been one of the most important annual forums in this country lends credence to the growing belief that all the major issues facing the digital cinema roll out have been resolved. And they have not. There were 3D demonstrations by several self-proclaimed experts that were among the most poorly done examples I’ve ever seen and many caused so much eyestrain that they were unwatchable. People need to appreciate that there is much to learn about shooting and editing stereoscopic 3D. As one example most of the bad 3D demos were cut as fast as what you might see in a typical 2D music video. Quick cuts simply don’t work in 3D; the mind can’t process the information fast enough to register it as 3D. While Steve Schklair CEO of 3ality Digital – a company that can legitimately claim 3D expertise – expressed some concern at the number of people making a similar claim without perhaps enough experience to support it he is the first to accept the fact that 3ality and Vince Pace are not the only companies capable of producing quality stereoscopic 3D. “There’s a lot of good work coming out all around the world ” Schklair said adding that many of the newest companies are taking the time needed to create quality work. He welcomes so many new faces on the 3D scene because as he sees it that helps to legitimize stereoscopic 3D and demonstrate that this time 3D is not simply a fad; it’s a whole new motion picture experience. “It’s good if everybody jumps in ” he said adding that the critical issue now for the small but significant number of 3D veterans in the industry is to stress “quality quality quality.” A second issue Schklair said was for everyone involved in S3D to work together on a common 3D vocabulary. “There’s no language around the 3D world he said but he believes one is evolving. The keynote address that highly regarded engineer writer and multiple Emmy Award winner Mark Schubin gave on Saturday summed up many of the issues that stereoscopic 3D faces as it tries yet again to earn widespread mainstream public acceptance. The title of his presentation was What is 3D and Why it Matters. “Some people say 3D is the closest thing to reality ” said Schubin. “I disagree.” He then showed a black and white photograph of Marilyn Monroe entertaining the troops to make the point in his words “We don’t need 3D to give us depth information.” The visual cues in the image made it quite clear that Monroe was in front and the troops in her audience were far behind her. Schubin used similar examples to make the case that in visual terms a talented artist working 2D can create most of the same effects as 3D. But with proper manipulation of the various tricks of the 3D trade that same artist working in 3D can make the viewer feel immersed in a scene and create a much greater feeling – Schubin used the word “sensation” – of actually being there. Schubin also showed a variety of historical images and headlines to demonstrate quite clearly that stereoscopic 3D is a very old idea with roots in the early part of the last century – including working S3D broadcast systems – and has always been on the verge of widespread public awareness and acceptance. Schubin was not going so far as to label the current 3D wave as a passing fad yet again but he did emphasize the fact that much work remains to be done before 3D is a mainstream experience in the home. He has hands on experience to support his positions. As an engineer Schubin has worked in broadcast and cinema for many years and is currently the supervising engineer for New York’s Metropolitan Opera and in that role helped pioneer the presentation of live opera in movie theatres around the world. His point was that a movie theatre is a controlled environment where the lights can be dimmed where the seats are placed just so and where the projector and screen can be maximized for a quality 3D presentation time after time. By comparison many things in the home environment remain variable including lighting and distance from the screen. There are also simple considerations such as the fact that many people like to watch TV while lying on a sofa. How would 3D work in that situation? And then there are the glasses. Currently the most affordable 3D TV screens available for the home use active shutter glasses that cost a hundred dollars and have a battery life of 40 hours. “Are consumers going to be willing to change batteries every week?” Schubin asked rhetorically. I can’t speak for Schubin but I suspect he would agree with me that stereoscopic 3D in movie theatres is here to stay and while we’re going to enter a phase where we’re likely to see a rash of poorly executed 3D – digital dandelions – in the end S3D will continue to be a staple of the cinema experience. I also firmly believe that it will be a decade – and possibly longer – before 3D in the home will be a mainstream experience. This is for the simple reason that as Schubin clearly demonstrated in his keynote “Things that work in cinema are not going to work at home.” ,1666
Wrapping Up NAB 2010,2010-04-30,We'll take a close look at all the highlights of this year’s National Association of Broadcasters Convention. ,1671
Scratch That,2010-04-30, QLab in Mumbai has acquired five Scratch systems from Assimilate for high-end digital intermediate work and training. QLab turned to Scratch when its existing DI system ran into some problems and the experience was so good the company added more systems and has deployed them across its DI/photochemical lab and burgeoning digital film school training facility.
Founded by chairman and managing director Manohar Shetty QLab has provided services to filmmakers for nearly 40 years. It’s the only company in Mumbai to offer a total shoot-to-screen package: lab data editorial DI VFX CG Red 4K cinema restoration Dolby 5.1/DTS mixing as well as film post. QLab has printed more than 250 Hollywood features for Indian release including 2012 Michael Jackson’s This Is It Red Cliff James Bond 007 Quantum of Solace and Casino Royale Harry Potter and Iron Man as well as servicing top Hindi films such as No Smoking Teen Patti Striker Taare Zamen Pe and What’s Your Rashee?
Amit Shetty director chief colorist and head of DI at QLab says “Our selection was not based on what the market talks about but what we are comfortable with. Scratch has great tools to complete projects from start to finish and it fits perfectly into our existing environment. It’s very easy to use has a great GUI and bridges the digital and photochemical domains.”
“We are among the first to have installed Red Rocket cards on our Scratch systems ” he says. “This lets us playback and debayer Red 4K files at full resolution in real-time as well as transfer to D5 tapes (with the 2K processor) for archival or DCI mastering.”
“Rokkk is a ghost/horror film with 80 percent of the footage shot at night ” Shetty says. “We used Scratch Scaffolds and the various grading and color tools for many tasks - to crush the blacks hide or lessen grain artifacts desaturate skin tones isolate faces track animated grades through scenes and generally enhance the mood lighting. The final data-master recorded back to film perfectly and the results look great.”
Regarding QLab’s educational effort he says “There is a gap in the training market for DI. As there are more Scratch systems in India than other competing systems Scratch is the right system to offer people who want to learn the art and craft of color grading through our Digital Film School. To date we have trained eight of our own staff on Scratch and plan to train 35 people each year to a level where they can get immediate employment.” QLab www.qlab.in ,1673
Creating an Upscale Boutique Cinema,2010-04-30,When Guillermo Younger president of Cinema Equipment and Supplies was given the task of designing the new luxury Silverspot Cinema in Naples Florida he immediately turned to Harkness Screens for the projection surfaces. Silverspot Cinema is the idea of third-generation Venezuelan cinema operator Gonzalo Ulivi and his cousin Ilio Ulivi who decided to bring their upscale boutique theatre concept to the United States. “We have worked with Gonzalo and Ilio on many of their theatre installations in South America and we were happy to bring their elegant vision to life in the United States ” says Younger. “Upscale cinemas require premium equipment and for us that projection surface comes from Harkness Screens.” Silverspot Cinema features 11 screening rooms each designed to hold 100 patrons in plush reserved seating and surround them with state-of-the-art sound and projection technology. The custom-made leather seats are larger than at other theaters have more legroom and ample arm rest space. Three of the screening rooms feature Harkness Perlux 220 screens designed for 3D presentations. The other eight screening rooms feature Harkness’ Matt Plus white screens. “Harkness’ quality service and customer support has been and continues to be excellent ” says Younger. “We have a good relationship with Harkness and always know we are providing our customers with the best possible screen on the market.” Harkness Screens www.harkness-screens.com ,1675
Building Big-Screen Momentum With Live 3D Events,2010-04-30,By Richard LaBerge Executive Vice President and CMO Sensio Technologies The boom in 3D movie releases in 2009 is news to no one but what many don’t realize is that over the same time period a greater number of live 3D broadcast events were shown in theatres than new 3D movie releases. More than a dozen high-profile sports and entertainment events were broadcast live in 3D at digital cinemas across the United States Mexico France Italy and the United Kingdom. The Orange/France Telecom broadcast of the men’s final at the French Open tennis tournament GlobeCast’s broadcast of Mozart’s “Don Giovanni” from the Rennes Opera House in France the Arqiva broadcast of 6 Nations rugby matches in England the NBA All-Star Saturday night and the Bowl Championship Series (BCS Bowl) game are only some of the high-value events shown live in 3D — all having been distributed to theatres in the Sensio 3D format. A growing understanding of how to deliver live 3D from start to finish is one key reason that content producers and networks have been able to launch their first live 3D broadcasts over the past year. Ongoing refinement of 3D production strategies real-time high-quality encoding and decoding equipment and robust HD distribution networks have enabled broadcasters and other media and entertainment companies to take their first steps into live 3D at a lower risk level. The risk has been significant in part because the real-time element of live 3D leaves little room for error. Whereas issues such as left-right alignment left/right-eye inversion color balancing framing errors frame delay exaggerated parallax and improper flipping or flopping of left or right images normally would be fixed in post providers of live 3D must be equipped to prevent or address these issues on the fly. Production itself presents new challenges requiring 3D overlays and graphics 3D switching sufficient cabling to handle stereoscopic content 3D monitoring and expertise in creative effective and visually pleasing stereoscopic images. Many of the problems tied to providing an immersive and dynamic experience of 3D in conjunction with the excitement and timeliness of a live event shown on the big screen are being addressed by increasingly capable production teams better workflows and proven product integrations. While resolving the new demands of shooting and capturing stereoscopic video presents some challenges the actual integration of 3D technology into existing networks – and the management of all associated requirements – also is among the more difficult aspects of providing live 3D. To ensure proper delivery of video from the event to theatres large-scale live 3D events depend on multiple vendors and the use of real-time high-quality 3D encoding and decoding equipment. For nearly every live 3D broadcast to date major broadcasters and production companies have partnered with Sensio to leverage their expertise accumulated from more than ten years in the 3D realm. The Sensio 3D format transforms stereoscopic HD video (e.g. from dual HD cameras) into a compressed and visually lossless format that can be delivered over a standard broadcast infrastructure such as a typical satellite network. The adaptation and refinement of leading 3D technology to meet broadcasters’ needs and to be compatible with their distribution networks has been essential to ensuring the continuity and quality of signal transmission from event site to cinema. In addition to providing a reliable and effective distribution mechanism partnerships of broadcasters and event producers with Sensio the only established live 3D solution vendor to move beyond testing and into real-world live 3D projects have enabled significant improvements to the quality and content of successive live 3D events. With each new 3D broadcast the continued refinement of live 3D production – including graphics incorporation of 2D video and use of other visual tools – is evident in the final product shown to theatre audiences. As the visual quality of live 3D has improved so too has broadcasters’ ability to incorporate live 3D into their larger business models. For the majority of broadcasters close work with Sensio has sped this process. While working to improve and expand the live 3D distribution network Sensio also has used its experience in facilitating live 3D events to build an informed model for pricing and the dispatch of revenues to the benefit of all parties involved. Armed both with proven technology and an informed business model based on real-world numbers producers of live 3D shows can now quickly get down to the business of organizing production of the event itself and offering audiences a much more compelling viewing experience. Live 3D is supported in a rapidly growing number of cinemas around the world. The Sensio network today represents the largest group of such theatres beginning with 85 digital cinemas by the end of 2008 and since expanding to include 300 theatres across multiple countries and continents in a network capable of supporting simultaneous global broadcasts of singularly popular global sports events. Even as 3D exploded on the big screen with high-profile movie releases in 2009 the stage was being set for bigger and better live 3D events – and more of them broadcast to more theatres worldwide. As a result live 3D is moving from emerging technology to proven large-scale live broadcast outlet. It’s not just possible; it’s happening. All of the pieces are falling into place: stereoscopic HD video established and proven distribution technology evolving trends business models and the large network of 3D-enabled theatres ready to decode and broadcast the live 3D stream. As major industry players follow through on their promises of live 3D event broadcasts throughout 2010 and beyond they have the benefit of building these new services on tried-and-true integrated platforms for end-to-end delivery of live 3D. ,1676
Opening Raleigh Studios Budapest,2010-04-30,Last year FotoKem Budapest Raleigh Studios and Origo Film Group formed a strategic alliance to establish and operate a state-of-the-art studio servicing the global filmmakers and the European motion picture market. The Origo Film Group complex named Raleigh Studios Budapest is a full service provider including; sound stages set and location lighting production services casting training and legal services as well as a 15-acre back lot. The studio also includes a film lab and post production facility run by FotoKem Budapest that has been outfitted with high-end 2K/4K scanning digital intermediate and finishing solutions including Digital Film Technology’s Scanity film scanner and Bones Dailies software. The 52-acre complex opened last month. FotoKem Budapest is offering 16mm and 35mm negative processing as well as 2K and 4K dailies services for feature films and commercial shoots. To support these workflows FotoKem has incorporated the Scanity film scanner and Bones Dailies software into its new post-production facility. The combined Scanity and Bones Dailies software solution enables scanned data to be delivered to any location in the world using a high-speed dedicated network. Bones Dailies is a comprehensive set of post-production software tools which provide a variety of editing and auto-conform functions format conversion as well as data and video transfer for dailies and digital intermediate workflows. When used with Scanity Bones Dailies helps streamline the post-production process greatly improving overall time and efficiency. “The versatility of Scanity and Bones Dailies will help us deliver our dailies and digital intermediates on time and on budget ” says Allan Tudzin managing director of FotoKem Budapest. “This is a first film scanner of its kind to be installed in Central and Eastern Europe and we are extremely excited to be the forerunner in our market.” Scanning on the Scanity is accomplished smoothly as no moving parts except the film rollers touch the film. Optical pin registration ensures an image stability that is comparable with mechanical systems yet allows for much faster scanning speeds and safe film handling. Scanity utilizes a customized time delay integration sensor from Dalsa to capture the complete densities from film with a sensitivity of 50 times higher than CCD technology. “The advanced technology of Scanity will help us expedite our video and data deliverables to studio executives producers and crew very quickly—and with the same quality that one would expect from our post facility in Hollywood ” says Tudzin. “Scanity allows us to specifically tailor workflows to the needs of our clients which we are certain they will be pleased with.” “The added value that Scanity provides us is a pleasant surprise ” says Gabor Varga CEO of the Origo Film Group. “The variety of functions this scanner performs is amazing and to be the first in our region to have one is a big boost to our post-production facility.” “The companies involved with the Origo Film Group have been long recognized as technology and service leaders in the production and post production market and all of us at DFT are thrilled to be a part of such a historic large-scale project ” says Stefan Kramper managing director of Digital Film Technology. Digital Film Technology www.dft-film.com Raleigh Studios Budapest http://www.raleighstudios.com ,1678
Expanding Services at Woods Hole,2010-04-30,The Advanced Imaging and Visualization Laboratory at the Woods Hole Oceanographic Institution – the world's largest private nonprofit ocean research engineering and education organization – is expanding its 3D HD production services unit called Woods Hole Imaging Systems. NAB 2010 marked the unit’s official 3D début. Footage created by the Woods Hole Imaging Systems group could be seen at several booths including Sony JVC and other 3D-related equipment manufacturers. The unit operates as a vertically integrated 3D production and post-production service and now its industry-leading 3D camera rigs will be available to outside groups. The custom 3D rigs have been specially designed from the ground-up for natural history science documentary and sports remote applications where image quality; reliability and overall equipment size are critical. Woods Hole Imaging says what makes it different than its competitors in its proven ability to construct ultra-small low power high resolution mini 3D camera systems that perform in hostile (non-studio) environments from 14 000 feet below sea level to the reaches of outer space. “Our smallest 3D camera rigs weigh in at approximately four pounds and can be operated by a single individual ” says William N. Lange AIVL research specialist. “A comparable 3D camera is about 50 pounds. We’ve seen considerable interest from sports producers in our ultra-small 3D cameras systems. They see that you don’t have to have oversized bulky cameras to produce exceptional 3D… you just need the best system. Hockey’s a great example. We recently placed one of our 3D camera rigs in a single position above the net at a New York Rangers game. The director stayed with the above the net shot longer than is typically done with a 2D camera. And by staying longer with this one shot people were physically reacting following the puck around. They were connecting to the action in a way that was different from the constant cuts to other cameras and other positions. That’s where our cameras can really add value.” The new 3D rigs from Woods Hole Imaging Systems lead the industry in their durability and reliability. “When we put a camera system in a submarine once that sub goes down the system just has to work ” says Lange. “That mentality is in everything we do. All of us at Woods Hole design and build systems from the ground up. We’re extremely optimistic about our new 3D unit. We’ve got something special and proven to offer the producers of 3D programming.” In the past five years alone AIVL has developed over 30 ultra-small high-resolution 3D systems that have been used to great success throughout the world providing unparalleled imagery. While they are mainly used for underwater applications AIVL recently developed a new line of terrestrial 3D rigs including ones that support high-end Sony Red and Phantom cameras. Woods Hole Imaging will make the leading technologies developed over the past decade particularly 3D more easily available and accessible to the scientific and research community film makers and producers. By providing the best and most versatile 3D technology and production services Woods Hole Imaging will be able to quickly respond to requests and unique opportunities which is critical in natural history filmmaking and scientific imaging. AIVL has been involved in the development of 3D technology for scientific and entertainment imaging for decades providing developmental production and engineering support to groups such as 3ality NASA Navy Science Applications International Corporation) Telecast ESPN SkySkan Sony Paradise FX and many others. Footage from AIVL systems has been used in hundreds of television programs and documentaries as well as Imax films. Some of the high-profile productions include: Blue Planet Deep Blue Volcanoes of the Abyss numerous Titanic documentaries as well as a recent theatrical 3D films with NHK. Woods Hole Oceanographic Institution
www.whoi.edu ,1683
The Top Ten Products of NAB 2010,2010-04-30, This year’s National Association of Broadcasters convention was held last month in Las Vegas and there were literally thousands of new products on display. We’ll have a complete overview of the show in the next Report. Meanwhile here are the products we believe were the Top Ten Products of NAB 2010. 1. ARRI Alexa Camera One of the undisputed hits of this National Association of Broadcasters exhibition was ARRI’s introduction of the Alexa. The camera is compact ergonomic and lightweight and uses a new Super 35 format sensor that delivers a base sensitivity of EI 800 low noise and a dynamic range of 13.5 stops. ARRI Imaging Technology captures organic film-like images unlike any digital camera with natural color rendition and pleasing skin tones. The Dual Gain Architecture design of Alexa’s CMOS sensor ensures the same wide exposure latitude across a range of sensitivity from EI 200 to EI 1600. This creates opportunities in post-production where it is easier and faster to get the most out of the rich captured images. Good detail in both highlight and shadow areas as well as a very low noise level help the colorist to reduce time effort and thus cost in grading. Completely new to ARRI cameras is the ability to record QuickTime files containing Apple ProRes encoded images onto on-board SxS memory cards. Alexa’s internal recorder encodes ProRes 422 (HQ) or ProRes 444 images along with audio metadata and Final Cut Pro XML files. These files load directly into FCP for editing coloring and finishing work. Furthermore the extremely high quality of Apple’s ProRes 422 (HQ) and ProRes 4444 codecs means that the edited result can be immediately distributed. To protect the investment in Alexa and to expand the filmmaker’s options when shooting three major components of the camera are specifically designed to allow an easy upgrade path. First taking into account the rapid rate of change in storage technologies the module that holds the memory cards is removable. Should another recording technology prove more desirable in the future this module can be easily replaced with other storage modules. Second the camera electronics which comprise the whole right side of the camera can also be removed and replaced by upgraded electronics with advanced features. Last but not least the Exchangeable Lens Mount system allows the use of PL as well as Panavision Canon or Nikon lenses. The Alexa camera will be available in June with a starting price of 45 000 Euros. 2. Panasonic AG-3DA1 3D Camera The world is clearly embracing stereoscopic 3D production and with that in mind Panasonic showcased its new AG-3DA1 which the company claims is the world’s first professional quality fully integrated full HD 3D camcorder offering SD media card recording. At less than 6.6 pounds the AG-3DA1 is equipped with dual lenses and two 1/4.1-inch full 1920 x 1080 2.07-megapixel 3-MOS imagers to record 1080/60i 50i 30p 25p and 24p (native) and 720/60p and 50p in AVCHD. It can record for up to 180 minutes on dual 32GB SD cards in Panasonic’s professional AVCHD PH mode and offers professional interfaces including dual HD-SDI out HDMI (version 1.4) two XLR connectors built-in stereo microphone and twin-lens camera remotes. It is also equipped with remote terminal for focus iris zoom REC start/stop and convergence point. Its 3.2-inch LCD screen provides the option to switch from Left Right or overlay image display. The twin-lens system adopted in the camcorder’s optical section allows the convergence point to be adjusted. Functions for automatically correcting horizontal and vertical displacement are also provided. Conventional 3D camera systems require these adjustments to be made by means of a PC or an external video processor. This new camcorder however will automatically recalibrate without any need for external equipment allowing immediate 3D image capture. Customers can reserve their AG-3DA1 camcorder (list price: $21 000) by placing a non-refundable $1 000 deposit with Panasonic. 3. Sony SRW-9000PL Camcorder Sony unveiled the newest addition to its CineAlta line: the SRW-9000PL camcorder. The new model expands the capabilities of Sony’s previously announced SRW-9000 adding a 35mm imager and PL mount to increase its flexibility and offer shooters more image creation options. “Demand for digital shooting with a 35mm size sensor is rising for both motion picture and prime-time TV drama productions two areas where our F35 has had great success ” says Chris Marchitelli senior manager of CineAlta and production systems at Sony Electronics. “This new model’s S35mm one-chip CCD sensor and PL lens mount are similar to the F35 so it combines the SR portability of the 9000 with the high-end optics of the F35 giving DPs an incredibly powerful and versatile tool for creating any ‘look’ they need.” Both the SRW-9000 and the SRW-9000PL will be available with an upgrade path to Sony’s high-speed memory recording system. In addition Sony will also offer a 35mm upgrade kit (HKSR-90PL) for the SRW-9000 2/3 inch imaging system. The SRW-9000PL camcorder and the HKSR-90PL are planned to be available in the fall with a suggested list price of approximately $125 000 and $60 000 respectively. 4. FGV Scmidle’s FGV 7D-PL from Band Pro Canon 7D SLR camera has become one of the hottest tools in HD cinematography and as evidence of that a number of manufacturers at NAB unveiled accessories for the camera. One standout was FGV Scmidle’s new FGV 7D-PL modification which is available exclusively from Band Pro. This versatile cinematography tool is a standard Canon 7D permanently retrofitted with a one-piece lens/sensor/base-mounting element made of rock-solid steel. The camera’s mirror and optical viewfinder are removed and the original sensor block is rigidly reinstated in connection with the one-piece 3/8-inch threaded steel mounting bracket and PL lens mount which ensures that all critical elements of the camera move as one. A 3-pin Lemo connection is added to allow start/stop control when using a handgrip system or remote camera controls. This makes the modified 7D ideal for remote rigs car rigs and cranes/jibs. The FGV 7D utilizes an APS-C sensor closely matching the size and depth-of-field characteristics of other single-sensor digital cameras. The new FGV 7D-PL is a professional moviemaking tool that can accept most popular PL lenses. 5. Fujinon 3D Synchronous Control System Fujinon introduced six new lenses in conjunction with its 3D Synchronous Control System for 3D production. The new lenses feature very high optical and mechanical specifications along with precise zoom and focus servos.
Lenses that are to be used in tandem for 3D productions must share the same focal length – and during shooting they must also match zoom and focus position. The Fujinon 3D Synchronous Control System includes the ERD-10A-D01 Zoom controller and HJ-303A-06A Synchronizer/Focus controller plus two SA-206H cables that provide the interface between the 3D controllers and lenses. The system synchronizes the left and right lenses so zoom and focus accurately move in unison.
Four new B4 mount lenses are designed for 3D HD productions. Fujinon is also offering two extended definition 3D lenses. The A4X7.5BMD-DNL features a 4X zoom with a focal length of 7.5-30mm while the A8X12BMD-DNL features a 8X zoom with a focal length of 12-96mm. Both lenses include a B4 mount.
For optimal usability these lenses may be used with Fujinon’s 3D Synchronous Control System or third-party controllers for simultaneous zoom and focus control. All 3D products are available for delivery.
6. Dolby PRM-4200 Reference Monitor Leveraging the imaging work that its digital cinema division has done in the exhibition market the new Dolby PRM-4200 Professional Reference Monitor delivers the accuracy of previous cathode ray tube monitors with the versatility of flat-panel displays. The new 42-inch monitor is the world’s first LCD-based video reference display that accurately reveals true and deep black levels with higher contrast across the entire color spectrum and provides an unprecedented luminance range and level. It uses a backlight comprised of red green and blue LEDs that are modulated individually on a frame-by-frame basis. The LCD panel is also modulated in real time as part of the dual-modulation process. Other key features of the Dolby PRM-4200 Professional Reference Monitor include: Extended dynamic range— Dolby says it is the first reference monitor that is capable of displaying the dynamic range that the latest digital cinema cameras can capture and provides the ability to perform cinema color grading without the use of a digital projector. The new Dolby Professional Reference Monitor is scheduled to be available later this year. 7. JVC IF-2D3D1 Stereoscopic Image Processor JVC unveiled the IF-2D3D1 Stereoscopic Image Processor which works as a 2D-to-3D converter and as a 3D L/R mixer for video content producers. Housed in a rugged 1RU metal cabinet and compatible with a wide range of HD formats the IF-2D3D1 is designed to help 3D content producers improve their workflow whether they are converting archived 2D material or shooting original content in 3D. Using unique JVC algorithms the IF-2D3D1 converts 2D content to 3D in real time offering no fewer than four 3D mixed formats (which combine left-eye and right-eye images) for stereo video output on a compatible device: line-by-line side-by-side-half above-below and checkerboard. JVC is making this 2D-to-3D conversion technology widely available under license. The IF-2D3D1 can also output discrete left and right signals via HD-SDI or HDMI for dual projection or editing. Output can be adjusted for parallax (image displacement) and 3D intensity – both with natural anaglyph and sequential viewing modes. Content creation workflow can also be improved through a variety of additional features. The Scope feature provides a waveform monitor and vector scope for comparing both video streams on a display to ensure the settings for both cameras – such as exposure and white balance – are matched. The Split feature combines the two video streams on one screen with a moveable boundary allowing instant L/R comparison. And when one of the two cameras has to be positioned upside down (to ensure correct spacing) Rotation makes sure both streams can be viewed the right way up and in sync. The IF-2D3D1 is available immediately with a suggested list price of $30 000. 8. The Foundry Mari Leading visual effects software company The Foundry in collaboration with Weta Digital has brought to market their internally developed and highly regarded 3D texture painting technology Mari which was used by Weta Digital to create many of the scenes in Avatar. Driven by the texture department at Weta Digital to handle the massively complex highly detailed look development work demanded of other projects such as Lord of The Rings and King Kong Mari was designed as a full 3D paint tool with a responsiveness and feature-set that puts even the best dedicated 2D paint systems to shame. Mari is extremely scalable coping easily with an obsessive level of detail – literally tens of thousands of textures – quickly and elegantly.
9. Nvidia Quadro Digital Video Pipeline for 3D Nvidia unveiled its new Quadro Digital Video Pipeline a turnkey system that dramatically simplifies and accelerates the production of live 3D broadcasts. With support for both DirectX and OpenGL software developers and solution integrators are building sophisticated solutions on this flexible platform. The Nvidia Quadro Digital Video Pipeline fully enables 3D workflows by processing simultaneous right eye and left eye video streams in real-time. Additionally by pairing this pipeline with Nvidia 3D Vision active shutter glasses broadcast operators and directors can preview stereo 3D content at full resolution during production. For post-production of 3D content video professionals can edit with Adobe Premiere Pro CS5 which is accelerated by Nvidia Quadro GPUs. A variety of plug-ins for 3D capture compositing and encoding enable an integrated workflow. The Quadro Digital Video Pipeline is available now from Nvidia Quadro value added resellers. 10. T-VIPS TVG480 Digital Cinema Gateway T-VIPS previewed its TVG480 Digital Cinema Gateway for the broadcast and cinema industries. The Digital Cinema Gateway enables the delivery of 2K HD-SDI or 3D left and right eye signals over Gigabit Ethernet links. Applications of the TVG480 include: digital cinema intermediates production; studio-to-studio media exchange; in-house signal distribution and routing; live event 3D-TV contribution and live 2K digital cinema distribution.
T-VIPS was the first to design launch and deploy JPEG2000-based solutions. The new TVG480 will deliver a wealth of benefits for the digital cinema industry.
“The NAB preview of the T-VIPS TVG480 demonstrates the highest video quality support yet available for IP transport ensuring that the video industry’s most demanding FX designers color graders producers and directors can sign-off digital rushes without having to wait for the delivery of tape ” says Johnny Dolvik CEO T-VIPS. “With the advent of the TVG480 T-VIPS has an IP-based video transport solution to meet every requirement of the professional broadcast cinema and video industries speeding up workflows and reducing the cost of content contribution and distribution throughout the transport chain.” ,1684
Expedition Health,2010-04-30, The Denver Museum of Nature & Science’s newest permanent exhibition Expedition Health is a 10 000-square foot health-science exhibit about how the human body constantly changes and adapts in ways you can see measure and optimize. The experience is framed by the compelling story of an authentic Rocky Mountain expedition organized by the museum as a keystone of its Health Science Initiative. Expedition “buddies ” a diverse group of residents of the region become virtual learning companions who accompany visitors through the exhibition and relate visitors’ activities to those they experienced during their own training programs and expedition. The Expedition Health gallery features 4 500-square feet of interactive exhibits and other presentations. Art Guild Inc. the exhibit fabricator hired Electrosonic to furnish numerous AV projection and interactive elements starting with the entryway where a 30-inch Dell widescreen monitor mounted in portrait mode displays a show schedule/digital signage piece. Ten ELO touch screens driven by Dell computers generate Peak Passes for visitors. “Expedition Health has been one of the most fun and interactive exhibits we’ve been involved with ” says Guy Fronte Electrosonic’s co-project manager with Gary Barnes. “The real challenge was making all the electronics fit into the very compact spaces made by the main fabricator Art Guild. Visitors to the Expedition Health exhibition quickly find themselves engaged in highly interactive and highly personalized activities featuring AV displays projection and touch screens. The primary challenge of the project was the tight confines available for the installation. Each station was built with the minimum equipment necessary. Simplicity was the key to the design. Upon entry visitors sign in electronically select a virtual “buddy ” and receive a Peak Pass card to activate key components of the exhibition. The Peak Pass components recognize visitors recall their personal data and enable them to record their own performance at some of those components. At the exit visitors can print out a personal profile with data and images as a take-home souvenir. A unique login number allows them to extend their experience on the Expedition Health Website.
Nearby visitors can place their hands on sensors to see and hear their own EKG courtesy of Dell computer systems rugged Blaupunkt car stereo speakers and proprietary Art Guild software. More feedback about heart rates is generated via the Bio Ride featuring exercise bikes rebuilt by Art Guild so visitor-cyclists can keep an animated rider moving. Electrosonic furnished the Industrial Image 22-inch LCD monitors to display the animations to the cyclists and Gefen extenders to transfer audio video and USB over CAT 6 cables from the Dell computers housed in another room to the bikes.
Visitors move on to one of the exhibition’s coolest components: Wind Chill. They place their hands in the glass-fronted device to activate temperature-controlled air that demonstrates the effect of wind chill on body temperature. Information on the phenomenon is delivered via a Dell computer Blaupunkt speaker and 22-inch Industrial Image LCD monitor.
An identical monitor figures in the nearby Altitude Adjustment exhibit along with an Adtec HD player that sources a video about how urine production increases to help the body adjust when you climb to high elevations.
Electrosonic provided RS232 control for the Full Body Viewer developed by Scott Snibbe. When visitors stand in front of a camera and mirror system the Full Body Viewer displays a generic full-size CG image of the body that reveals its muscle and skeletal structure and vascular and cardiopulmonary systems.
Next an ELO touchscreen Dell computer and Blaupunkt speaker inform visitors about the nutritional value of foods as they play the Feed a Hungry Hiker game. Visitors can then move on to Measure Up an activity where they stand in front of a camera system and green screen spread their arms and see their image displayed on a 46-inch Sharp LCD monitor below the camera. The Height & Arm Span Investigator another 19-inch ELO touchscreen with Blaupunkt speaker graphically demonstrates how a person’s arm span compares to their height.
The Cross the Stream balance activity probably posed the most challenges for Electrosonic according to Fronte. In this exhibit an eight-foot long balance beam beveled on each side to catch visitors who misstep divides the “stream” in half. Two ceiling-mounted Panasonic PTD-W5100 projectors were precisely placed by Electrosonic to project synchronized images onto floor screens that flank the balance beam and give visitors the impression of crossing a moving stream. The streambed video loop is sourced from Alcorn McBride DVM7400 hard disk players.
Electrosonic also installed Museum Tools’ Sound Sensor a microphone system that picks up ambient sound – such as kids giggling their way across the balance beam – and increases or decreases the creek flow sound accordingly.
As visitors explore Size Up Your Stride and the Walk Investigator a camera system records them walking along a length of wall as they try to increase their energy output. Each visitor’s unique walk is displayed in silhouette on three contiguous Sharp 46-inch monitors in banner mode. A 19-inch ELO touchscreen delivers feedback about the visitors’ gaits and energy scores.
Electrosonic furnished more ELO stations for Top 10 Traumas on the Trail an interactive about injuries and the body’s healing processes and UV and You about skin types and UV effects. Nearby visitors can dab sunblock on the back of their hands and place them under a UV camera with images showing how sunscreen blocks UV displayed on special portrait mode Industrial Image screens.
An Industrial Image 22-inch monitor plays a central role in the Pupil Dilation interactive where a camera system records visitors’ pupils as they dilate and constrict in response to lighting conditions and displays them on the screen. Electrosonic also supplied the visitor interface consisting of a push-button PI Engineering interface that triggers the camera and an Easy Capture USB video- capture device.
Mindball is a biofeedback game in which two visitors with sensors strapped around their foreheads try to control a ping pong-sized ball on a track. The calmest player wins. Electrosonic supplied a 30-inch Dell LCD monitor that displays both sets of brain waves; a Sharp 46-inch widescreen monitor in portrait mode provides core information about the brain.
In the See Yourself Age exhibit a camera records visitors faces and subjects them to aging software comparing normal aging to the likely effects of exposure to the sun and bad habits such as smoking. Electrosonic provided a 19-inch Industrial Image display Happ buttons and to set the aging process in motion and a Blaupunkt speaker.
As Expedition Health winds down two 22-inch ELO touchscreens with Dell computers Blaupunkt speakers and Logitech QuickCam 9000 webcams enable visitors to record their own health stories. The Tykes Peak area designed for children age five and under features a kid’s body silhouette with a 10-inch Industrial Image LCD monitor in a chest window displaying a graphic of a beating heart Alcorn McBride SD video player sources the graphics. Interacting with a sensor kids can take a giant stethoscope place it on their own chests and hear their heartbeat through the silhouette.
The Summit Science Stage for live demos and programs includes a 30-inch Dell screen in portrait mode for digital signage.
Finally visitors reach six 19-inch ELO wrap up stations where they insert their Peak Passes and receive print outs documenting their exhibit experiences.
Behind the scenes Electrosonic provided eco-friendly AMX PC1 remote power units that can easily be managed by the museum’s IT staff.
At Electrosonic Bryan Abelowitz handled sales for the project Vince Conquilla was installation supervisor Tom Miller and Mike Dwyre were installation technicians and John Bush was commissioning engineer.
Lath Carlson was Art Guild’s Interactives Project Manager.
Trying on a New Hat
