Palace Cinemas, the fifth largest major cinema chain in Australia, is installing Arts Alliance Media’s Screenwriter theatre management system.
The National Film & Television School, based in Beaconsfield, to the west of London, has been nurturing talent in the industry for more than 50 years. So, you can imagine how scary it felt when, back in March 2020, I had to send an email telling all our students that the gathering pandemic meant we had to close our doors.
[Editor’s Note: Jeroen Hendriks served as digital imaging technician on the feature film Where the Crawdads Sing, which opened in theatres this past weekend. Here, in his own words, are his thoughts about the project.] After having positive experiences using Sony’s OLED monitors for years, I chose their PVM-X2400 24-inch 4K high dynamic range monitor for use on my latest project Where the Crawdads Sing, based on the best-selling novel.
Since the dawn of color cinema, there has always been a demand for a skilled and sympathetic person to guide color throughout a production. Back then, the color timer worked to the instructions of the cinematographer, looking essentially to achieve consistency: dramatic color shifts using irreversible wet chemistry were rarely undertaken. But while the director and cinematographer may be household names, the colorist may still go unheralded outside a small community. To correct this neglect of a vital talent in the overall creative team, last year we created the FilmLight Color Awards.
Today’s movie theatre operators are facing a dilemma: While they’ve made investments and improvements that were supposed to keep their theatres full, too many seats remain empty, and they don’t have endless resources to keep throwing at improving their experience. What’s the solution? In my opinion, operators don’t need to do things better. They need to do things differently. I firmly believe the movie theatre of the future will offer hyper-focused content and be experiential.
Streaming service giant Netflix is experimenting with its pricing policies in a handful of countries in response to high rates of account sharing. Eleanor Patterson, assistant professor of media studies in the College of Liberal Arts at Auburn University, explains what this experiment means for U.S. account sharing and the future of streaming platforms.
Recency frequency monetary modeling is a proven marketing model for behavior-based customer segmentation. By helping marketers analyze and action their customers’ behavior, it drives the strategy that sits behind successful marketing campaigns. But how does a cinema circuit apply the RFM model to post-COVID closures? In October 2021 Showtime launched our new Customer Analytics product at the UK Cinema Association Conference in London. There we presented a case study of how we applied the recency frequency monetary model to the Irish cinema chain Movies@ to help them bring audiences back to their cinemas for Universal Pictures release of the James Bond blockbuster No Time to Die.
Netflix’s Stowaway, starring Anna Kendrick, Daniel Dae Kim, Shamier Anderson and Toni Collette, follows a space mission that is headed to Mars when an unintended stowaway accidentally causes severe damage to the spaceship’s life support systems. Facing dwindling resources and a potentially fatal outcome, the crew is forced to make an impossible decision.
So much time and energy are spent educating cinema professionals how to properly design cinemas, including installed sound and projection systems. We forget the best lessons typically come from our mistakes. In the 30-plus years I’ve been in the cinema industry, I’ve learned a ton from THX, Dolby, the Hollywood post-production community, and the brilliant engineers I’ve been so fortunate to work with.
In a strongly worded statement, the National Association of Theatre Owners defended the practice of exclusive theatrical release windows for exhibitors and used Disney’s latest movie, Black Widow, as its prime example. Here is NATO’s statement in full: “Black Widow’s excellent reviews, positive word of mouth, and strong previews and opening day total ($13.2 million/$39.5 million) led to a surprising 41 percent second day drop, a weaker than expected opening weekend, and a stunning second weekend collapse in theatrical revenues. Why did such a well-made, well-received, highly anticipated movie underperform? Despite assertions that this pandemic-era improvised release strategy was a success for Disney and the simultaneous release model, it demonstrates that an exclusive theatrical release means more revenue for all stakeholders in every cycle of the movie’s life.