Kelly Tricarico is the founder, president and CEO of Cinema Pro, Inc and has been involved in the entertainment construction industry for nearly twenty years. She is also an executive member of the board of the newly formed trade group Women in Exhibition. As movie theatres around the country slowly begin to reopen I wanted to get Tricarico’s thoughts about the challenges involved in getting movie theatres ready for the public as we slowly emerge from the coronavirus pandemic.
Marcus Theatres has added a drive-in movie theatre to its Twin Creek Cinema in Bellevue, Nebraska. Strong Technical Services worked with Marcus to develop the concept. Additional locations are under consideration.
My intimate contact with COVID-19 started last December. Looking back, I remember I was trying to arrange interviews for a new business development director in Beijing. I would fly out for a full day of interviews plus a quarterly business review with our China general manager, Allen Xing. Harkness had been developing a partnership for a high gain silver 3D screen with a premium format cinema brand.
As movie lovers cope with the challenges of quarantining, entrepreneurs around the world have experimented with an almost endless number of variations of drive-in and pop-up theatres. No one knows if this is a trend that will sustain itself or a fad that will fade away once the pandemic has ended. But I thought it would make sense to get some perspective about what’s involved in that kind of business from the people at Cinemobiel in Belgium, a group of friends who, for the past 20 years, have been presenting movies from a fire truck in towns all across their country. Which is why I spoke, via email, with Simon Verschelde, Cinemobiel’s only fulltime employee.
Inspired by Michael Connelly’s Harry Bosch novels, the Amazon Prime Video police-procedural series Bosch premiered its sixth season on April 17. The show has also been renewed for a seventh and final season, offering one last outing for the eponymous LAPD homicide detective. Cinematographer Patrick Cady, ASC has been behind the camera for roughly half of the show’s 60 episodes to date, going back to Season 1. From the beginning, Cady and his collaborators have sought to create a sense of realism grounded in the show’s Los Angeles locations.
When he was asked to work on the hit thriller Aadai, India based digital cinema designer and colorist G. Balaji understood the importance of the color grade for the movie’s overall success. With the film, Balaji said he wanted to break the stereotype of how India is shown.
Everybody who loves movies longs for the moment that movie theaters worldwide will re-open again, because everybody knows there is no better place to experience a movie than in a cinema with friends and family.
Rising Sun Pictures is celebrating its 25th anniversary this month, another milestone for the visual effects studio which, from humble beginnings, has gone on to produce ground breaking work for more than 150 motion picture and series productions, including some of the most popular and critically-acclaimed films of the past two decades.
When cinematographer Scott Peck first learned that he was going to be shooting Stargirl, a new series on the DC Universe streaming service, he started doing a lot of research about the original DC Comics character Stargirl and its creator Geoff Johns.
Nigeria’s cinema sector is perhaps the most evolving in the nation’s creative industry, as movie going has become a norm amongst many working-class youths and Millennials in the recent past. In metropolitan cities such as Lagos, Abuja and Port Harcourt, the usual #TGIF aura on Fridays is commonly dominated by scenarios of young corporate workers, couples and students, storming cinemas as soon as the clock ticks to call it a day.