Visual Data Media Services, which provides digital supply chain services to global content owners and distributors, has acquired London-based MX1 UK Limited, which offers content preparation services to leading broadcasters and content owners as a part of SES, the world’s leading satellite operator and managed service provider.
Arts Alliance Media and Motion Picture Solutions have signed a strategic co-operation agreement, which will see AAM collaborate with MPS and its invested partner Gofilex on a global content e-delivery system.
Abramorama is partnering with Shakey Pictures and Reprise/Warner Records to release the latest Neil Young film Mountaintop across North America on October 22 and in Europe and South American on November 18. Two-time Rock and Roll Hall of Fame member Neil Young continues his 50-year odyssey with Crazy Horse, this time in the mountains of Colorado with Mountaintop, a Bernard Shakey + dhlovelife film with cinematographer Adam C.K. Vollick.
Goldcrest Post and CinePointe Advisors will unravel the process of preparing films for distribution in a special two-night workshop aimed at feature film and documentary producers and others responsible for budgeting and supervising films as they make their way through post-production. Sessions will offer insight into the legal, technical and physical aspects of film delivery, covering topics as wide-ranging as how to negotiate delivery terms to the intricacies of OTT delivery specs. Workshop leaders will include CinePointe Advisors business and financial affairs advisor Stacey Smith, Goldcrest Films head of production Gretchen McGowan and Goldcrest Post managing director Domenic Rom.
Abramorama and Atlantic Records have expanded the theatrical release of Melanie Martinez’s debut full-length film K-12 to 32 countries, with more than 450 theatrical screenings in seven languages. Multiple cinemas around the world have added second and third encore screenings to cater to the demand.
CineLife Entertainment, the event cinema division of Spotlight Cinema Networks, has partnered with CBS Home Entertainment as the exclusive theatrical distributor throughout North America for two Peanuts features: A Boy Named Charlie Brown (1969) and Snoopy, Come Home (1972). This is the first time the digitally remastered films have been available for theatrical bookings since their original release dates.
Spotlight Cinema Networks, a cinema advertising company dedicated to luxury and art house theatres, has announced two promotions and a key hire. Bernadette McCabe has been hired as executive vice president, CineLife Entertainment; Ronnie Ycong has been promoted to executive vice president, exhibitor relations & operations; and Christine DelGuidice-Kraemer has been promoted to senior vice president, marketing.
Global content studio Gunpowder & Sky has acquired worldwide rights to Sebastian Jones and Ramez Silyan’s SXSW music documentary, Everybody’s Everything. The film follows the life and career of Lil Peep, the genre-bending rapper who was just rising to fame when he died of an accidental drug overdose at 21 years old. Dubbed the future of emo by Pitchfork, Gustav Åhr was influential in bringing emo and pop-punk to hip-hop through his mixtapes, released via SoundCloud. Ahr’s first mixtape, 2015’s Lil Peep Part One generated 4,000 plays in its first week.
Studio Canal, a subsidiary of Canal+ Group, has deployed Nagra’s NexGuard forensince watermarking technology to protect the international distribution of its content.
From the earliest days of feature length films until the 1980s, the movie going experience typically happened in a very large theatre with a really big screen. Faced with rising costs and increasing competition from television, exhibitors of that sad era cut their buildings into multi-screen complexes to increase ticket sales and maximize profits on concessions. Today, faced with a different set of economic realities, exhibitors around the world are increasingly responding by creating movie palaces that rival all but the most spectacular theatres of the turn of the last century. One trend at this year’s CinemaCon, which wrapped up last week, was the continuing rise of premium large format theatres. Another trend was the almost comical trashing of Netflix. PLF theatres and Netflix are both here to stay; we’ve been here before