Doremi Cinema has reached an exclusive agreement with Canada’s Empire Theatres to install Doremi Cinema Servers on more than 300 Empire screens. The installations will include Doremi's DCP-2000 and Integrated Media Block with Doremi's ShowVault. Empire Theatres is Canada’s second largest exhibition company with headquarters in Stellarton Nova Scotia. Empire Theatres operates 50 theatres throughout Canada with 380 screens and employing more than 2 500 employees. We began our relationship with Doremi last year when we installed 63 screens with Doremi's DCP-2000 cinema servers says Valerie Ryan vice president real estate and development for Empire Theatres. Given that initial success and the additional field testing we conducted in conjunction with Series II projectors Doremi servers were the clear choice for going forward.
“We selected both the Doremi DCP-2000 and IMB with ShowVault because we wanted to future proof our circuit for 4K says Ryan. Both models provide outstanding 2K playback for 2D and 3D but knowing that Doremi’s IMB is the only 4K IMB readily available today which can easily be upgraded to 4K playback with a simple firmware upgrade gives us the flexibility to control how we roll out our 4K screens.
Empire Theatres is a truly innovative exhibitor with an outstanding reputation for quality and guest satisfaction says Michael Archer vice president of Doremi Cinema. Their selection of Doremi as their exclusive digital cinema server provider illustrates their in-depth understanding of digital cinema technology and where the future of exhibition is headed. We are thrilled to undertake this long-term partnership and look forward to supporting Empire Theatres as they take their theatres to the next level. ,1925
Doremi Releases Universal 3D Format Converter,2010-08-30,Doremi’s Dimension-3D Universal 3D format converter converts any 3D format to any other. It can fit into virtually all stereoscopic workflows allowing any 3D input stream format to be used with all types of currently available displays including high-end projectors and the latest generation of 3D-ready LCD screens. It also includes frame-rate conversion. Applications include converting stereoscopic camera rig outputs for recorders and displays and enabling double-stack 3D projection. By encoding left and right eye streams into a single HDSDI stream and back it enables recording 3D content on standard HD recorders. It can also work with Doremi’s Nugget or V1 servers to create a cost effective 3D play out solution. ,1926
Entertainment Technology Center Creates Stereoscopic 3D Online Resource,2010-08-30,In response to industry and media demand The Entertainment Technology Center at the University of Southern California has created a living online resource dedicated to stereoscopic 3D. For the last two years the center's Consumer 3D Experience Lab has housed a world-class collection of 3D displays and demonstration materials and has been the site of meetings and conferences related to the emerging art technology and business of stereoscopic 3D. The current surge of interest in 3D content and consumer electronics devices has led to a flood of requests to our Lab for information about 3D says Consumer 3D Experience Project program manager Phil Lelyveld. With the support of our member companies we have established an online resource that we hope will become a key source of information for anyone interested in learning about and keeping up with the latest developments in stereoscopic 3D. The resource center called the Consumer 3D Experience Project at http://3D.etcenter.org links to current information related to the rapidly evolving 3D entertainment landscape; which includes movies sports and video games. The site provides 3D news information about upcoming events for 3D professionals content release and broadcast information links to training and education resources and a database of information about market research reports. The information which is available to all is updated on a daily basis. The site is a great starting point for industry press and consumers interested in 3D. Because of our expertise in 3D our access to research and the ETC@USC's Consumer 3D Experience Lab we are able to not only track the latest news and events on 3D but also offer up the history and context for 3D moving into the future says David Wertheimer executive director and CEO at ETC@USC. Our new consumer 3D project site is one of the top places to go if you are looking for the latest information and pointers to the wealth of resources available on 3D content. While the information offered by the Consumer 3D Experience Project is accessible to anyone tracking the developments within this area sponsors of the Entertainment Technology Center are provided with additional exclusive information and analysis. In addition the ETC@USC works closely with other leading organizations in this field such as the CEA Variety SMPTE Sports Video Group the International 3D Society NAB etc. to create influential conferences and events about stereoscopic 3D. Entertainment Technology Center @ USC
www.etcenter.org ,1927
Iridas Announces Stereoscopic Native Workflow for Arri Alexa Cameras,2010-08-30,Iridas has announced what it says is the industry’s first stereoscopic native workflow optimized for the Arri Alexa. The company says the enables users to instantly review Alexa stereo footage in the field and experience real-time geometry alignment and color match in a true stereoscopic timeline. It’s no surprise that the demand for 3D content from Hollywood blockbuster movies to immersive television documentaries is becoming a major driving force in our industry today. However while the demand for content is there access to effective efficient and affordable technologies to create that content has been elusive says Lin Sebastian Kayser CEO of Iridas. This feature represents the culmination of years of engineering and stereoscopic development expertise that has enabled a 3D production workflow that works flawlessly with the equipment our customers most want to work with like the innovative new Alexa cameras. In many ways our new Alexa cameras are a technological breakthrough and are redefining the limits of motion picture capture and real time workflows says Adrian Widera strategic and business development Arri. One of the ways we achieve our vision is by working with a network of partners who we know can extend the Alexa experience ultimately delivering a complete powerful digital production workflow. Iridas is a proven partner and provides a complement to enhance the real time stereoscopic production workflow that is in such high demand from our customers. Iridas www.iridas.com ,1930
Digital 3D Now Playing in Mongolia,2010-08-30,Digital 3D cinema recently had its Mongolian debut at the Tengis Cinema in Ulan Bator. The audience enjoyed Shrek Forever After thanks to a DCP 30 LX digital cinema projector and an XPand 3D shutter glasses system installed by Kinoton Korea Inc. Tengis Cinema run by Ulaanbaatar Cinema had already been very popular with local moviegoers. The theatre features a varied program with Korean and Mongolian movies as well as Hollywood blockbusters. The 3D shows at the Tengis Cinema have been a resounding success. At the moment the stereoscopic versions of Toy Story 3 and Despicable Me are playing. With this first digital 3D installation in Mongolia Tengis Cinema has secured its position as the country’s leading multiplex movie theater. ,1931
NCM Fathom US Figure Skating to Present Rise,2010-08-30,NCM Fathom the entertainment division of National CineMedia has announced an agreement with U.S. Figure Skating to present the cinematic feature Rise as part of a special in-theatre event in February. This historic evening will celebrate American figure skating while commemorating the 50th anniversary of the February 15 1961 plane crash in which all of the members of the United States World Figure Skating team perished. Broadcast live to more than 500 movie theatres and performing arts centers throughout the U.S. the event will include a red-carpet extravaganza uniquely choreographed figure skating performances interviews with several American figure skating legends and the world premiere of Rise. Rise will take audiences on a powerful journey through some of the biggest moments in the history of the sport. Figure skating luminaries family and friends will share their memories of the 1961 U.S. World Team while discussing the effects the tragedy had on the skating world and beyond. 2010 Olympic champion Evan Lysacek and his legendary coach Frank Carroll are two of the skating luminaries that will appear in the cinematic feature. Lysacek’s crowning moment in Vancouver this past February reminds everyone how closely tied today’s generation of skaters is to those that lost their lives 50 years ago on the way to the World Championships in Prague Czechoslovakia. Carroll who also coached nine-time U.S. champion Michelle Kwan was a student of Maribel Vinson Owen one of the coaches that perished in the plane crash and a central figure in Rise. “The 50th anniversary of this significant moment in our history merits a commemoration of this magnitude ” says David Raith executive director of U.S. Figure Skating. “The opportunity to reach our members figure skating fans and the American public on the big screen gives us the ultimate platform to convey U.S. Figure Skating’s pride in its heritage by illustrating the enduring power of resilience through sport.” With the stories of the 1961 World Team at its center Rise shows how the unfulfilled dreams of those who lost their lives on Sabena Airlines Flight 548 would be shared – and forever realized – by the generations of skaters that have followed. Many of the dreams that have been fulfilled since that tragic day in 1961 were made possible through support from the U.S. Figure Skating Memorial Fund. The Fund established as a living memorial to those that lost their lives in the crash has supported thousands of skaters at every level including Olympic champions with contributions totaling in the millions. “Fathom is proud to team with U.S. Figure Skating for this historic event to remember the lives of those lost in this tragic accident 50 years ago and to watch some of America’s greatest skaters pay tribute in a once-in-a-lifetime celebration that will live on in the hearts of all Americans ” says Dan Diamond vice president of NCM Fathom. “The dreams these skaters and coaches had have not gone unfilled. For one night all Americans can come together in theaters to celebrate figure skating and the humanity that defines it.” National CineMedia www.ncm.com ,1932
OConnor Introduces 2065 Fluid Head for Digital Cameras,2010-08-30,OConnor has introduced the 2065 Fluid Head designed to handle popular digital cameras like the Red One Sony F-35 and Arri Alexa. The new head features OConnor's stepless ultra-smooth pan and tilt fluid drag – specifically designed to deliver the ultimate control and stability necessary for film-style shooting. OConnor's patented sinusoidal counterbalance system provides true accurate balance at any point in the tilt range. Replacing the 2060HD the new 2065 shares the ergonomic design of OConnor’s higher-payload fluid heads like the popular 2575D and 120EX models. Pan and tilt breaks are conveniently located on the left side of the head--so operation is both intuitive and familiar. The 2065 also offers many of the same popular features as the 120EX. The platform is equipped with dual scales one on each side and four handle rosettes allow operation from either side of the head as well as front or back handle mounting. A handy one-touch platform release lever enables one finger or hand action to undo the safety catch and open the lever which speeds deployment and location changes in the field. The new head weighs 22.9 pounds (10.4 kg) and has a payload of 0-71 pounds (32.2 kg). Because OConnor fluid heads can be counterbalanced down to 0 pounds they are the perfect tools for the current art of cinematography where cameras keep getting lighter lenses keep getting larger and more accessories are constantly being developed. No matter how a camera setup is configured OConnor can balance the payload. List price for the new 2065 Fluid Head Package is $11 995. OConnor www.ocon.com ,1933
John Trapman Shoots Aerial Shots for Treasure Buddies,2010-08-30, Aerial director of photography John Trapman chose the new Eclipse helicopter camera mount for Treasure Buddies part of the Air Bud series which takes the pack to the ruins of ancient Egypt. He shot the plates in San Diego California. To capture the key series of background plates for the film Trapman not only operated the Eclipse system he also set the exposure and the look of the camera. He chose the Pictorvision Eclipse because he felt its patented XR Motion Management technology enables the most advanced steering stability and pointing capabilities available. “The big deal with the Eclipse is that you can really work the helicopter and never have to worry about upsetting the camera ” says Trapman. “When you are shooting plate shots you need steady rock-solid footage ” he says. “It’s very important that the shots are stable and locked down to make the visual effects artists’ job easier when they combine our plates with the foreground elements shot on stage. The more stable the image the less work they have to do in post and that means less cost for the production company.” While Treasure Buddies was the first opportunity for Trapman to use the Eclipse system he is anxious to put it to work on future projects. “It’s more than the stability of the system to enable higher performance moves from the helicopter that makes it the must use tool for aerial photography ” he says. “If we need to quickly reset for another shot we can do it. It also gives us the ability to lock onto a target and make repeatable moves consistently. And it is ready to go moments after you turn it on. No more waiting for gyros to get up to speed. It offers super-fast start up time incredibly stable images and steady horizon as well as the ability to roll the horizon if desired.” Treasure Buddies is slated for DVD release late 2010. Pictorvision www.pictorvision.com ,1934
Republic Pictures turns 75 Years Old,2010-08-30,The Cultural Affairs Committee of the Studio City Neighborhood Council and the Museum of the San Fernando Valley will salute legendary movie studio Republic Pictures on its 75th anniversary September 25th at the former Republic lot in Studio City California. Stars such as Adrian Booth Anne Jeffreys Ann Rutherford and Peggy Stewart are slated to attend. Festivities include screenings of Republic films serials and trailers live performances of swing and western music entertainment by gun spinners rope twirlers trick horses and cowboy poets and a diverse collection of memorabilia. In addition a speakers forum with prominent industry experts and Republic celebrities will discuss a range of topics from creating sci-fi special effects to tales of working at Republic Pictures. A special Republic Pictures stamp cancellation ceremony of the U.S. Postal Service’s Cowboys of the Silver Screen postage stamps will take place and be available for sale. Founded in 1935 by Herbert J. Yates Republic Pictures was an independent film production-distribution corporation with studio facilities. Republic gained national prominence with its focus in westerns movie serials and B-films emphasizing mystery and action the staples of Saturday afternoon matinees. The studio launched the careers of future cowboy icons John Wayne Gene Autry Rex Allen and Roy Rogers and produced serials like The Adventures of Captain Marvel and Commando Cody: Sky Marshal of the Universe in its fabled 24-year history. Notable Republic Pictures included Under Western Stars (1938) Flying Tigers (1942) Macbeth (1948) Sands of Iwo Jima (1949) The Red Pony (1949) The Quiet Man (1952) and Johnny Guitar (1954). Republic Pictures www.republicpictures75th.com ,1936
Screenvision and K•Swiss Announce Partnership,2010-08-30, Screenvision and K•Swiss have entered into an exclusive partnership to bring the California Sports brand’s Have an Awesome Day campaign to moviegoers across the country. Marking the company’s first foray into cinema advertising the partnership features a 30-second spot airing in the Screenvision pre show. The initial campaign ran in theatres last month and included an exclusive screening at the Muvico theatre located in Thousand Oaks California.
“We are thrilled that K•Swiss has chosen Screenvision to launch its first in-cinema advertising campaign ” says Mike Chico executive vice president sales marketing and research Screenvision. “K•Swiss’s commitment to team with us further showcases how in-cinema advertising due to its effectiveness is becoming a bigger part of yet another major national marketing campaign.”
David Nichols executive vice president of K•Swiss says “Screenvision allows K•Swiss to reach moviegoers nationwide during the peak summer season. Our Have an Awesome Day spot will be a natural feel-good addition to the movie experience and help us reach a uniquely captive audience.”
K•Swiss www.kswiss.com Screenvision www.screenvision.com ,1937
Sklavis Film Lab Upgrades,2010-08-30,Sklavis Film Lab in Athens Greece has installed a refurbished Rascal Digital and Pandora Pogle Film Scanning Suite for both new and archive productions. Sklavis’s requirements were for a high quality high speed HD and 2K-film scanner with extensive color correction as well as audio capabilities. The company chose Cintel’s Rascal Digital ‘data-cine’ film scanner fitted with 16mm and 35mm film gates SD and HD video outputs 2K HSDL Data outputs and coupled this with a Pandora controller and color correction solution as well additional Sound Follower and Keycode tracking equipment. Digital intermediate technician Giannis Kouretis says “We have a requirement to scan a large quantity of new and archive film predominantly to 2K data. The Rascal Digital speed performance in 2K at 15fps as well as real-time HD is very powerful. Our needs included additional primary and secondary colour correction as well and the Pandora system was able to provide this. To complete the film-scanning suite we needed a Keycode tracking system and additional audio capabilities. We found www.usedtelecine.com to be a very comprehensive tool to help us specify what we need and to get a good idea of the budget required. Cintel was then able to provide an entire package including shipping installation and a warranty which ensured complete peace-of-mind for us.” Simon Clark Cintel’s business development manager says “Sklavis Film Lab is a demanding customer with high specifications requirements. We’re really happy to have been able to supply a very high quality film scanning solution at a cost which was acceptable. To be able to provide an entire suite install it and offer on-going support was our goal and the Cintel team performed the task admirably.” Cintel International www.cintel.co.uk ,1938
UltraStar Cinemas Installs Corn Digital Signage,2010-08-30,UltraStar Cinemas which claims to be the first and largest theatre chain in the nation to be 100 percent equipped with digital cinema capabilities has claimed another industry milestone by setting up digital menu boards on concession counters and box offices. Corn Digital supplied the technology. “Our new digital menu board system presents well-designed content featuring motions that really attract moviegoers’ eye balls ” says Kevin Stengle UltraStar Cinemas. “We have seen unexpected success in promotions of special items at several locations and were forced to turn off some of those digital signs because we ran out of stock of the promoted items.” At some of UltraStar’s new theatres customers are first greeted by two Ceres-200N 20-inch network signage at the entrances which show movie schedules pricing and special event information according to the company. Once inside moviegoers see an array of 42-inch and 20-inch LCD displays showing movie trailers and dynamic menu board content. ,1939
Wolff Cinema Converts with Sony Digital Cinema 4K,2010-08-30,Wolff Cinema Groep a Dutch company operating on a cross-national scale has decided to equip four theatres with 4K systems from Sony Digital Cinema. In the framework of the digital deployment Mustsee Euroborg in Groningen was equipped with two Sony SRX-R320 projectors and LMT-300 media blocks the sites Cinema de Graaf in Huizen close to Amsterdam and CineStar Enschede close to the German border each received another unit. FTT Filmtronics which was also in charge of the test installations at several Mustsee locations for the groups Minerva and Wolff and has actively launched Sony 4K systems onto the Dutch market for more than one year carried out the complete installation. In this context two Sony systems had already been installed at Cinecity in Vlissingen in the Southwest of the Netherlands. All installations also include the possibility to play out 3D content in 4K. Jordi Wientjes member of the board of management of Wolff Cinema Groep says “We have addressed the topic digital cinema at a very early stage already and now opted for Sony 4K as we are simply convinced about the technology. We think that this was the right time to deploy some of our core locations in order to be well prepared for the upcoming blockbusters.” Thomas Rüttgers chairman of the board of management of FTT group says “From the very beginning we have already been co-operating with Wolff Cinemas in the field of digital cinema and have also installed 35mm equipment at many sites at Mustsee in Groningen. For us this step is another important benchmark for the digital rollout in the Netherlands and we are very happy that we are able to continue our excellent co-operation with Wolff Cinemas.” ,1940
Barco Projectors Chosen for Telluride Film Festival,2010-09-14, Barco digital cinema projectors were used to screen movies debuting earlier this month at the world-renowned Telluride Film Festival in Telluride Colorado. “When we were asked to serve as the Festival's Digital Cinema Advisor our first order of business was to procure projectors with strong performance in particular for 3D from a trusted source so we naturally went with Barco ” says Adam M. Mizel interim co-CEO of Cinedigm. “We've enjoyed a successful partnership with Barco for many years prizing their dedication to not only producing technologically advanced solutions but also providing excellent service and support to exhibitors.” “The Telluride Film Festival prides itself in embracing new uncharted territory in the world of movies – discovering fresh talent and exploring new genres – as well as revisiting past treasures ” say Telluride Festival directors Julie Huntsinger Tom Luddy and Gary Meyer. “With its focus on innovation Barco is keenly-aligned with our mission to elevate the art of cinema to a higher plane continually pushing the bounds of creativity with cutting-edge technology.” “We are honored to provide the Telluride Film Festival with projectors that present the brightest clearest images on screen to dramatically showcase the creative vision of today's filmmakers ” says Todd Hoddick vice president digital cinema North America. “Our latest products are supporting a new genre of innovative content enabling world-class cinematographers to expand their horizons and achieve new paradigms in movie presentation.” ,1945
Barco Unveils Cinema Projector for Post,2010-09-14, Barco has unveiled a brand-new cinema projector specifically intended for digital post-production. The company says the Barco DP2K-P is the world's only enhanced 4K-ready projector specifically conceived and built to meet the enhanced performance needs of post-production houses. The fit-for-purpose post-production projector builds on the DP2K B-series products from which it inherits benefits such as light efficiency low cost of ownership and ease-of-use. To respond to the highly specialized needs of post-production houses the new DP2K-P features an expanded color gamut that is wider than the current DCI recommended color space. In addition the company says the projector sets itself apart by delivering more brightness uniformity and more contrast than any other projector which results in increased image detail especially in low light regions.
Along with the new DP2K-P Barco will also release a special version of the accompanying Communicator software enabling users to customize their 2D and 3D look-up tables. Thanks to this increased control over the color space post-production professionals can do their job with an unprecedented level of accuracy. Barco www.barco.com ,1946
Can Communicates Buys Four Element Technica 3D,2010-09-14, Can Communicate has purchased four active stereographic 3D rigs from Element Technica. Can will take delivery of three Element Technica Quasar rigs which will enable the company to work with OB partners and content producers to provide a fully active 3D set-up. The rigs which were designed specifically for use in South Africa this summer are currently unique to Can in Europe.
In addition Can has purchased a Pulsar rig which provides a fully active and fully mobile documentary filming solution. This rig which is also currently the only one of its kind in Europe adds a further genre to Can’s competitive offering. Stephen Pizzo co-founder Element Technica says “We appreciate the fact that Can is always striving to push the envelope with respect to S3D acquisition. It was the vision of Can that inspired us to deliver a system that would satisfy their high expectations in terms of performance reliability and ease of use. This deal cements our close association with Can and also provides us with a major presence in the European market.”
David Wooster production director Can Communicate says “Element Technica’s rigs have really proved themselves on our recent productions so we are pleased to add this equipment to our growing arsenal of the best 3D production post-production and infrastructure tools available. This investment gives Can more flexibility with our 3D production projects by enabling us to tailor the rigs to decrease set-up times and react swiftly to the demands of any co-production. It also means that we can expand our production base by offering a 3D documentary rig which will be fully active and fully mobile.”
Can Communicate www.cancommunicate.com Element Technica www.technica3d.com ,1949
Deluxe Acquires ITFC,2010-09-14,Deluxe Entertainment Services Group has acquired the business and assets of ITFC a leading provider of post-production content management authoring media access and asset management services to the UK and European television and cinema industry. Chris Higgs will continue as managing director of the acquired business. I am very pleased to welcome Chris and the ITFC team to the Deluxe family. The ITFC business has a tremendous reputation and I am sure that the broad range of skills and expertise acquired by Deluxe will help us to deliver a fantastic range of added value services to our clients says Ken Biggins Deluxe's European managing director. Chris Higgs ITFC's managing director says We are excited about joining Deluxe and look forward to working with them to further expand our services to customers. Deluxe Entertainment Services Group www.bydeluxe.com ,1951
Digital Factory Introduces Video Watermarking Service ,2010-09-14, The French film and audio post-production service provider Digital Factory has introduced a video watermarking service offering for tape delivery and file processing based on Civolution’s NexGuard application. Using the service clients will be able to benefit from imperceptible serial numbering of content copies for any media asset or working version. For master copies delivered as tapes the service offers watermarking up to 10 bit 4:4:4 HDCam-SR format. For mezzanine files and proxy versions the video watermark is embedded to any output format supported by the Rhozet Carbon Coder transcoder. It is essential for our customers such as the film studios Europa Corp to protect their assets prior to theatrical release and track all content copies ’’ says Bruce Guerre-Berthelot general manager at Digital Factory. We selected Civolution as their NexGuard technology was the most advanced and best suited to meet the needs for content security in professional environment and fitted perfectly in our content delivery workflows.’’ “We are pleased that Digital Factory has selected Civolution’s NexGuard watermarking solution to provide their clients with additional security ” says Jean-Michel Masson senior vice president watermarking operations Civolution. “We are committed to provide advanced technologies such as NexGuard and contribute in the efforts to curb piracy for the benefits of the whole TV and movie industries.” Digital Factory www.digitalfactory.fr ,1952
DLP Ships 4K Chips to its Licensees,2010-09-14, DLP is shipping DLP Cinema Enhanced 4K chips to its licensees Barco Christie Digital and NEC. The chips are scheduled to be installed in projectors in early 2011. “Regardless of resolution option or screen size exhibitors can count on DLP Cinema’s award winning technology to deliver all the light to all the pixels all the time ” says Dave Duncan business manager for Texas Instruments DLP Cinema Products. Several industry demos are anticipated between now and then by DLP Cinema licensees.
For example during a recent company visit from Cinemark Barco held a live demonstration of a pre-launch version of its upcoming DLP Cinema Enhanced 4K projector which will complement its current 2K projector offering in early 2011. Walter Hebert senior vice president for Cinemark says “At Cinemark we were the first to commit to DLP Cinema Enhanced 4K technology to provide our customers with the most unforgettable movie experience. What we have seen from Barco during their 4K live demo last week definitely fits the bill. The images projected by Barco's DP4K-32B are without any doubt the sharpest and brightest 4K images I have ever seen. It confirms once again that we made the right choice when we decided to put our trust in Barco for our global digital cinema roll out. We are excited to be offering this DLP Enhanced 4K experience to our worldwide customers in the very near future.”
“With Barco exhibitors are offering moviegoers the premium digital cinema experience. Our overwhelming success in the market shows that customers have embraced our DP2K family as the most complete range of DCI certified digital cinema projectors offering the perfect match for every screen. The addition of Barco's DLP Cinema Enhanced 4K projectors to the family will strengthen this even further ” says Wim Buyens vice-president digital cinema at Barco. “While we remain fully committed to our DP2K platform and 2K as the industry standard our upcoming DP4K projectors will allow us to also serve the Enhanced 4K segment which will mainly focus on premium cinema screens.”
DLP Cinema’s 4K chip is designed to be brighter and more energy efficient and is designed to meet the Digital Cinema System Specifications developed by DCI LLC for established image quality and security. Currently all DLP Cinema 2K projector models with the next generation DLP Cinema electronics platform are DCI compliant. “DLP Cinema remains dedicated to providing the cinema industry with diverse platforms in both 2K and 4K solution ” says Kent Novak senior vice president and general manager for DLP Products. “Texas Instruments will continue to innovate and further the development of its DLP Cinema 2K chips which are indisputably the industry standard including the capability of upgrading the newest 2K projectors to 4K.” ,1954
American Documentaries Featured in Film Festivals in Russia,2010-09-14,Russian audiences will get unique insights into the American way of life during the next several weeks at film festivals in Vladistock and Moscow. No Subtitles Necessary: Laszlo and Vilmos and How to Fold A Flag will be featured at the Pacific Meridian Festival in Vladivostok and the Show US! Film Festival in Moscow. Both films were chosen for the 2010 American Documentary Showcase. No Subtitles Necessary: Laszlo and Vilmos is the story of two Hungarians who came to the United States as political refugees in 1957 in the wake of the Russian army crushing an uprising against the communist regime in their native land. Laszlo Kovacs ASC and Vilmos Zsigmond ASC overcame formidable obstacles and became iconic cinematographers who are recognized around the world. The documentary was produced and directed by James Chressanthis ASC a cinematographer who apprenticed with Zsigmond in 1986. His documentary features archival footage from memorable films shot by Kovacs and Zsigmond interviews with them and some 70 critics actors directors other filmmakers family and friends. Chressanthis will also conduct workshops and seminars with Russian filmmakers. I thought about making this documentary about these two amazingly talented human beings for 30 years Chressanthis says. It's a story about their brotherhood and the bond that held them together as well as how they created magnificent art. How to Fold A Flag is part of a trilogy about how American veterans are coping with life after returning from serving in the U.S. Army in Iraq and Afghanistan. It was produced and directed by Michael Tucker. He filmed the interviews with veterans who freely share memories and feelings about the war their lives after returning home and how they were treated by the Veterans Administration. Stuart Wilf a veteran featured in How to Fold A Flag is traveling to Vladivostok and Moscow. He will answer questions after screenings; meet with students and faculty members at the Russian State University for the Humanities the public and the press. Nine other films chosen for the 2010 American Documentary Showcase will be shown at Show US! Film Festival in Moscow Beginning Filmmaking Traces of the Trade People's President Hobart Shakespeareans Order of Myths Craft in America Note By Note One Bridge to the Next and A Fair to Remember. These films offer a broad diversified look at life in the United States and the values of a democratic society as seen by independent filmmakers who are free to express their opinions says project director Betsy McLane Ph.D. The American Documentary Showcase was founded in 2009 as a cooperative venture by the Bureau of Education and Cultural Affairs of the United States government and the University Film and Video Association whose members are on film school faculties. So far 29 American documentaries have been seen in 23 countries. ,1955
Dolby Introduces the PRM-4200 Professional Reference Monitor
,2010-09-14, Dolby has introduced the 42-inch PRM-4200 professional reference monitor which the company says is the world's first LCD-based video reference display that accurately reveals true and deep black levels and provides higher contrast across the entire color spectrum and an unprecedented luminance range and level. The monitor will be available later this year. 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. From broadcast audio to digital cinema Dolby looks at the critical points in the entertainment chain that will ultimately deliver a compelling entertainment experience for the audience says Jason Power senior director of marketing broadcast Dolby Laboratories. In creating our new professional reference monitor we took a really close look at the video side of content creation and leveraged our expertise in imaging and manufacturing to produce a true next-generation reference display. Dolby www.dolby.com ,1956
Empire Cinemas to use Arqiva’s Digital Cinema Satellite System
,2010-09-14, UK exhibitor Empire Cinemas has selected Arqiva’s digital cinema satellite distribution system for its entire 16-theatre circuit.
Barrie Woolston commercial director at Arqiva Satellite & Media says “We believe that satellite based electronic delivery is the future of cinema distribution as it provides cost effective secure and simultaneous distribution of film content to multiple sites. It also enables the distribution of live alternative content which we see as a major growth area and an exciting commercial opportunity for exhibitors. Arqiva’s innovative satellite system based on its IS905 platform uses professional broadcast equipment to provide a robust and reliable electronic delivery system for both live and feature content. Empire’s decision to deploy this across their entire cinema chain is a resounding vote of confidence in both electronic delivery and Arqiva’s Digital Cinema Satellite System.”
Justin Ribbons CEO of Empire Cinemas says “We are committed to ensuring that our cinemas stay at the cutting edge of all cinema technology. In this regard the delivery of content by satellite to Empire’s growing network of digital cinemas is increasingly important. We believe that the quality and professionalism demonstrated by Arqiva make them an ideal technology partner for the Empire group.” ,1957
ETC Seeks Feedback for Interoperable Master Format Specifications,2010-09-14, The Entertainment Technology Center @ USC is seeking broad multi-industry feedback for the Interoperable Master Format draft specification. Over the last year the ETC@USC has hosted the IMF project seeking to develop a voluntary specification for an interoperable set of master files (and associated metadata) to enable the interchange and automated creation of downstream distribution packages within the motion picture and television production and post-production industries. The participants in the IMF project which include Disney Fox NBC/Universal Paramount Sony Pictures Entertainment and Warner Bros. will create a specification that can be proposed to SMPTE with the intention of initiating a formal standards-setting process. The goal is to create an interoperable high-quality set of master files suitable for a variety of distribution packages that can be used to output an arbitrary number of versions for varying screen sizes resolutions bit rates codecs service providers etc.
As part of the process of developing the specification the participants in the IMF project are very interested in receiving commentary and feedback on the proposed specification and its contents from companies and individuals within the motion picture and television production and post-production industries technology providers and manufacturers and anyone else who may use or be affected by the IMF specifications under development. Many interested industry technology and solution providers have already provided feedback on the draft and ETC is now looking to widen the net throughout the motion picture and television post-production and distribution industries. “A meaningful and implementable IMF specification is essential to helping content creators and distributors take advantage of ever-increasing opportunities and platforms. We have reached a critical milestone in this project where we want and need input from a variety of potential adopters of the IMF format. This will allow us to refine the draft specification before it is turned over to SMPTE for potential standardization ” says David Wertheimer CEO and executive director of the Entertainment Technology Center @ USC. The multi-format multi-platform requirements on the media supply chain continue to increase while the delivery time expectations continue to decrease. An industry-standard format that enables media companies to meet these challenges and reduce servicing costs is incredibly important. We fully support that goal says Chris Gianutsos vice president digital growth initiatives NBC Universal.
“As digital file-based workflows impact all parts of our industry standards for interoperable and efficient digital mastering solutions are becoming critical ” says Leon Silverman general manager digital studio The Walt Disney Studios. “Only through industry-wide participation can we move this important initiative forward into the standardization process.”
It's vitally important ” says Steve Rosenberg senior vice president media post-production technical operations Fox “to have available an appropriately set standard for a media container for audio-visual content exchange. ETC's voluntary IMF specification that has broad studio support will set the stage for that standards setting process at the SMPTE and the efficient delivery of our content to/from our vendor partners and customers.
Wertheimer says “We are grateful to the industry members who previously signed up as IMF Contributors for their thoughtful feedback. We are now extending the deadline for comments and asking anyone in related industries that wishes to provide comments and feedback to do so by September 25th at etcenter.org/imf.”
Bi-weekly meetings will continue to take place at the studios and at ETC@USC’s Anytime/Anywhere Content Lab in Los Angeles with report-outs and input opportunities for collaborative groups periodically and hopefully a submission to SMPTE in the Fall. ,1958
IFTA Turns 30 and Names 30,2010-09-14, The Independent Film & Television Alliance marking its 30th anniversary has selected the 30 Most Significant Independent Films from around the world produced over the past three decades. IFTA chairman Lloyd Kaufman and president and CEO Jean Prewitt jointly made the announcement.
Since 1981 IFTA members have produced and distributed 18 of 30 films that have won the Best Picture Academy Award. Overall IFTA members produce more than 400 films annually.
In selecting the Most Significant Independent Films from the past three decades IFTA’s 27-member board of directors considered independently financed films produced worldwide and a variety of factors including features that introduced new cinematic styles; garnered awards; achieved critical acclaim; launched the careers of notable producers directors and actors; or had other standout qualities.
“From Oscar winners to controversial and visionary game changers independent films have shaped and defined the film industry and popular culture over the last 30 years ” Kaufman says.
Prewitt says “IFTA’s Board an international and diverse group considered a vast number of tremendous imaginative films. The 30 Most Significant Independent Films truly reflects our industry’s breadth of vision and we encourage the discussion that the selection will spark.”
The Most Significant Independent Films from each of the past three decades follows: 1980s: Amadeus; Blue Velvet; Dances With Wolves; Das Boot (The Boat); Gandhi; My Left Foot; A Nightmare On Elm Street; Platoon; Sex Lies and Videotape; The Terminator (Honorary mentions: The Killing Fields; The Last Emperor; The Toxic Avenger.) 1990s: Braveheart; Crouching Tiger Hidden Dragon; Fargo; Four Weddings and a Funeral; Life Is Beautiful; Pulp Fiction; Reservoir Dogs; The Silence of the Lambs; The Usual Suspects; Where the Day Takes You (Honorary mentions: Basic Instinct Good Will Hunting; Trainspotting.)
2000s: Brokeback Mountain; Crash; The Hurt Locker; Inglourious Basterds; Juno; Lord of the Rings: Fellowship of the Ring; Million Dollar Baby; Monster; The Pianist; Slumdog Millionaire (Honorary mentions: Bowling for Columbine; Memento; Twilight)
American Cinematheque has partnered with IFTA for the screening series 30 Most Significant Independent Films.) The series will launch on September 29th at American Cinematheque’s Egyptian Theatre in Hollywood with a reception screening of the acclaimed 1989 Irish film My Left Foot winner of two Oscars for Best Actor (Daniel Day-Lewis) and Best Supporting Actress (Brenda Fricker) followed by a Q&A with director Jim Sheridan (schedule permitting).
American Cinematheque and IFTA will announce the screenings schedule details of which are below as well as special guests slated to appear at specific screenings. The series will alternate between the Egyptian and Aero Theatres in Santa Monica. The Independent Film & Television Alliance www.ifta-online.org ,1959
German Fans Enjoying Open Air 3D,2010-09-14,German movie fans are now enjoying open-air digital 3D cinema outside. The Starpac Open-Air Cinema on the grounds of the Mönchengladbach Germany public swimming pool organized by the local Comet Cine Center is showing numerous 3D movie highlights including Avatar Alice in Wonderland Forever Shrek and Step Up in addition to popular 2D films. The spectators can make themselves comfortable on the 200 deck chairs that have been placed on the lawn or on their own picnic blankets. The managing director of the Comet Cine Center Hans-Jürgen Brandtner had decided late last year to choose Kinoton as the technical service partner for the event. The local Kinoton agency installed a DCP digital cinema projector and an XPand 3D shutter glasses system. The XPand system is fast and easy to set up and provides lively 3D effects on the inflatable matte white cinema screen we are using says Klaus Kraemer the head of the local Kinoton service team. Because of the large picture size of 16 by eight meters we are using a very bright projector with a 6 500-watt xenon lamp. Brandtner appreciates the superb picture quality and is thrilled with the extreme brightness we achieve in 3D and 2D. ,1960
National CineMedia Introduces AudioTrax,2010-09-14, NCM Media Networks has developed a network of devices called AudioTrax to measure audio levels in its FirstLook pre-feature program.
The patent-pending AudioTrax sound monitoring device has been designed by NCM engineers to ensure that the audio volume levels of NCM's FirstLook are true to the content's creative vision. The devices will provide sound level data in real-time throughout the day to NCM's Network Operations Center located in the company’s Denver headquarters allowing NCM’s staff to work directly with theatre corporate personnel to address any audio issues.
We believe this is the first time that a national media network can measure not only if an ad is playing but also measure if the sound is right for our theatre patrons says Cliff Marks president of sales and marketing NCM Media Networks. AudioTrax adds yet another layer of accountability for NCM clients and theatre operators ensuring that we not only deliver high quality video images but also the powerful audio experience for which our big screens are known.”
With hundreds of AudioTrax devices already deployed in select major markets NCM will continue to install devices throughout 2010 and 2011 in nearly 6 000 select movie theatre auditoriums across the NCM Cinema Network primarily in theatres owned by AMC Entertainment Inc. Cinemark Holdings Inc. and Regal Entertainment Group. This initial deployment will provide NCM with the ability to take sample measurements of audio volume levels heard by over 50 percent of its audience nationwide. Because NCM’s AudioTrax only measures sound levels and does not distinguish or record audio content (such as dialogue or conversations) individual patron privacy and film copyrights will be protected.
National CineMedia www.ncm.com
Doremi Reaches Exclusive Agreement with Empire Theatres to Install Digital Cinema Servers
