Unique X is partnering with Cinematronix on feature film delivery and live streaming services throughout Canada.
Digital Cinema Packages
Digital Cinema United, a content services company specializing in digital cinema package production and delivery services, has hired Ronnie Ycong to lead the company’s North America and Latin America region as executive vice president and general manager – Americas. At the same time the company announced the addition of Premiere Cinemas and Epic Theatres to its DCU Connect network.
Arts Alliance Media has announced a strategic partnership with Digital Cinema United, a specialist in digital cinema package production and delivery. The two companies are working together to deploy a combined theatre management system and eDelivery service.
Digital Cinema United has launched its cloud based DCU Connect platform into the U.S. to support the advancement of content delivery for film distributors and theatrical exhibitors. DCU Connect, which is based on Sharc technology, has been in development since 2015 to address the high cost of physical and satellite delivery of digital cinema packages directly to movie theaters globally.
Upon surpassing a key milestone of 1,000 installed screens, MetaMedia, the, cloud-based entertainment technology company for cinemas, drive-ins, and other out-of-home venues, announced today that Pixelogic, a global provider of content localization and distribution services for the media and entertainment industry, has made a major investment in MetaMedia to accelerate its global expansion.
MTI Film has released an updated version of Cortex, its line of software for managing media from the set to the screen. Cortex v5.4 includes dozens of new and enhanced features designed to improve the handling of camera media, dailies production, post-production processing and deliverables packaging. User experience has also been significantly improved, making it even easier to manage projects through successive stages of production and post.
DTS today announced the first DTS:X quality control screening room in Japan has opened at Imagica Entertainment Media Services, Japan's largest post-production facility.
Traditional workflows are making way for transformative digital workflows that enable greater efficiency, flexibility, and cost-effectiveness. This is very true of digital cinema. Now, the Society of Motion Picture and Television Engineers is offering a virtual course entitled Understanding the Digital Cinema Package for members and non-members. With this course, professionals working in media production, distribution, or mastering can learn how to leverage the SMPTE Digital Cinema Package to enable innovation, automation, and cost savings.
Goldcrest Post recently performed a feat of post-production magic for one of the most unusual film releases of the year. Grizzly II: The Revenge, a thriller about a giant bear that attacks fans at a rock concert, was shot in 1983 by the late Hungarian director André Szöts. Starring Steve Inwood, and including appearances by George Clooney, Laura Dern, Louise Fletcher and Charlie Sheen, the film was intended to be a sequel to Grizzly, a modestly budgeted independent film that became the top grossing independent film of all time upon its release in 1976, but it was left unfinished. That changed late last year when executive producer Suzanne C. Nagy retrieved the nearly 40-year-old original elements from storage and sought Goldcrest’s help in getting the film ready for its long-delayed release.
Technologist Jack Watts began his career in post-production in the Republic of Ireland. In 2013 he joined Technicolor in London where he was head of technology and development. He moved to Deluxe in London is 2015 as part of the joint venture between the two digital cinema business units at both companies. There he primarily focused on mastering solutions for digital cinema, and then eventually, the interoperable master format. There he acted as an internal consultant to the technical operations, client services and business development teams. Externally, there was also the need to consult the business’s premium studio clients.