DQ Entertainment to Produce Trio of 3D Animated Feature Films

India’s DQ Entertainment has announced its 3D feature film release slate currently under development to be released starting 2012 through 2014. The company says it will release three 3D feature with one release planned every year: The Jungle Book (2012-2013) The New Adventures of Peter Pan (2013-2014) and The Phoenix and the Flying Carpet (2013-2014). The anticipated budget of each film is between $25 million and $30 million. DQ Entertainment recently produced the 3D animated stereoscopic feature film The Prodigies with Onyx Films and Fidelite Films France to be distributed by Warner Bros. Pictures and Studio37 France. Tapaas Chakravarti producer and chairman of DQE says At DQE there is enormous excitement after completion of The Prodigies 3D feature film to move forward rapidly for the development of The Jungle Book Peter Pan and Phoenix and the Flying Carpet 3D stereoscopic feature films.” DQ Entertainment www.dqentertainment.com ,2313
Foo Fighters Live 3D Concert in Theatres April 5th ,2011-03-25, Cinedigm Digital Cinema announced today that they are producing and distributing what the company says will be the first widely released music performance in live 3D when Foo Fighters perform their entire new album Wasting Light to be shown in more than 80 theatres nationwide on April 5th. The concert will follow the debut of their documentary Foo Fighters: Back and Forth. Cinedigm is presenting the documentary along with Exclusive Media Group RCA Records and Spitfire Pictures. The live 3D performance will feature Foo Fighters playing their upcoming album front to back a week in advance of the album's street date of April 12th.
 
 “This is a collaboration of world class innovative and experienced 3D partners in the business ” says Jonathan Dern president of Cinedigm’s entertainment group and executive producer of the 3D event.  “We look forward to providing a fantastic evening to fans around the country.”  
 
 The live 3D production involves Cinedigm Sweetwater/NEP Hi-Ground Media and Element Technica.  In addition to producing the event Cinedigm will be providing their proprietary 3D distribution technology and satellite connection to the networked theatres; Sweetwater/NEP will be using their mobile truck Cobalt in a complete 3D configuration.   Element Technica will be providing 3D rig technology and Hi-Ground Media will be creating 3D graphics.
 
Wayne Miller in association with Action 3D has been tapped as the 3D producer and director for the 3D performance broadcast. A veteran in the 3D production world Miller has captured more than 50 artists in 3D and is considered one of the most proficient producers in 3D including the 3D theatrical releases for Phish and Dave Matthews Band. Following the theatrical broadcast the documentary will air as a VH1 Rock Doc on VH1 VH1 Classic and Palladia on April 8th. Produced by Nigel Sinclair (No Direction Home: Bob Dylan Amazing Journey the Story of the Who The Last Play at Shea) of Exclusive Media’s Spitfire Pictures the documentary chronicles the entire history of the Foo Fighters from the cassette demos Grohl recorded during his tenure as Nirvana’s drummer through their ascent to their Grammy-winning multi-platinum arena and stadium headlining status as one of the biggest rock bands on the planet. Sinclair is also the CEO and co-chairman of Exclusive Media Group.  Executive producers are Jeanne Elfant Festa Glen Zipper Michele Farinola John Silva Gaby Skolnek John Cutcliffe Alex Brunner and Chris Miller. Oscar and Emmy winner James Moll produced and directed the documentary film which culminates with the making of the new album: a process in which the band pushed itself forward by going fully back to basics and recording in Grohl's garage completely on analog tape. No computers no software just a band recording an album to tape in a garage. The new record also marks the Foos' first full-length effort with legendary producer Butch Vig with whom Grohl worked on Nirvana's classic album Nevermind. Former Nirvana member Krist Novoselic will also return along with other surprise guest artists. ,2315
GDC Integrated Media Block Awarded FIPS Validation Certificate,2011-03-25,GDC Technology’s Integrated Media Block has been officially awarded the Federal Information Processing Standards 140-2 Level 3 validation certificate. The certification was awarded by the National Institute of Standards and Technology a non-regulatory federal agency within the US Department of Commerce after a recommendation made by InfoGard Laboratories an accredited Cryptographic Module Testing Laboratory under Lab Code 100432-0 of the National Voluntary Laboratory Accreditation Program. GDC is the first digital cinema equipment manufacturer to receive such an accolade for IMB and meets DCI security requirement. Obtaining FIPS Level 3 certification means that GDC’s IMB meets the highest level of DCI security requirements for protection against malicious hacking infringement and theft of digital content. FIPS are security standards developed by the NIST covering detailed specifications for physical and mechanical design electronic circuitry software interfaces and computer algorithms. “The FIPS 140-2 Level 3 validation entails a rigorous and complex testing process that scrutinizes the security design and implementation ” says Ken Kolstad general manager InfoGard Laboratories. “It is one of the toughest objectives for DCI equipment manufacturers to meet and we congratulate GDC for achieving this significant milestone.” “We are elated to receive this certification which marks an important milestone for GDC ” says Dr. Man-Nang Chong founder and CEO of GDC Technology. “GDC digital cinema servers are designed to comply DCI specifications and the FIPS 140-2 Level 3 certification signifies that GDC servers offer the highest level of security. I am very proud of my team for working relentlessly to ensure our products remain at the forefront of digital cinema technology.” ,2316
Glassworks Installs Baselight HD Color Grading System ,2011-03-25,Amsterdam visual effects and post house Glassworks has invested in a Baselight HD color grading system from FilmLight to enhance its grading capabilities for their core commercial and broadcast markets. Glassworks Amsterdam was established in 2007 and now four years on the office has grown to a 16-man operation providing market-leading work to advertising agencies and production houses both locally and internationally. Clients include Weiden & Kennedy 180 TBWA Neboko Y&R DDB Kessels Kramer and Selmore. They have created VFX for some of the most prestigious campaigns in advertising including Sony Nokia Heineken Mini Nike and Adidas.  With a client base that traverses continents there are no limitations Glassworks’ reach and the new Baselight is a great supplement to the company’s services. “We’ve had our sights set on a Baselight for a long time ” says Hector Macleod CEO and owner of Glassworks. “And following an in-depth evaluation of color grading systems at IBC it was clear that Baselight HD offered us the biggest potential to grow our customer base and achieve the best possible return on our investment.” Managing director Phil Linturn says that “Baselight HD is the obvious choice for Glassworks Amsterdam. It is a highly versatile tool allowing us to handle data efficiently and allowing our clients to realise the full potential of their films in a suite that can handle HD 4:4:4 material. In a market such as ours where the emphasis has well and truly shifted from film to digital media we need a solution that not only delivers an excellent picture it has to cope efficiently with the multiple formats and processes inherent in digital film production. Like Glassworks FilmLight are a forward thinking company right at the forefront of innovation and we are looking forward to demonstrating the benefits of this system to our clients.” Linturn says The addition of an in-house grading suite at Glassworks allows us to offer a more complete service to our existing clients whilst opening us up to potential new customers and allowing us to service a broader range of projects. Like our London facility we look forward to welcoming promos short films as well as long form content. Indeed we consider ourselves very fortunate to have already fielded enquiries from both existing and new clients. ,2317
GunMetal Industries Releases Pipe Bomb 3D,2011-03-25,GunMetal Industries has released the GunMetal Pipe Bomb 3D a professional HD-based 3D camera system that uses distinct dual-camera (left eye/right eye) recording in an extraordinarily small package. The manufacturer says the Pipe Bomb cameras are a major contrast to the complicated other 3D cameras on the market today. Presently there are over a more than a dozen manufacturers of 3D rigs for cameras such as Red Silicon Imaging and other camera sensors. There are also manufacturers of integrated 3D camera systems such as Sony and Panasonic. Due to what it calls the complexity and expense of these systems GunMetal Industries claims there are limitations which are automatically imposed when shooting certain subjects in 3D. For producers looking to strap a traditional 3D camera to a skydiver for example traditional cables can present a massive safety issue to operators. Shooters of a pit change at a racetrack from a dozen angles are challenged because most 3D budgets don't allow for even two cameras let alone twelve. Pipe Bomb was created (U.S. patent pending) by GunMetal to address these issues. Pipe Bomb is not a replacement for more expensive 3D camera systems the company says it is a complement to them. Pipe Bomb allows crews to deploy multiple 3D cameras in locations that would otherwise present significant production challenges while keeping production value high and budgeted costs low. GunMetal christened these little units “Pipe Bombs” because they are very small compared to other 3D systems. Capable of shooting HD up to 60 FPS and based on the Contour HD camera platform Pipe Bomb 3D systems are small enough to fit anywhere and can be mounted virtually anywhere. Pipe Bombs are simple to operate: power up and slide the Record buttons forward and you are shooting 3D. Pipe Bombs come in two configurations: Pipe Bomb CQB is a two-camera system for $2795 that is intended for shoots such as vehicle interiors rooms and close-in action sports. Pipe Bomb XL is a three-camera system for $3495 that adds a third camera for additional flexibility in production and post-production. “When I first saw the Pipe Bomb camera system I was blown away ” said Davis-based SkyDance SkyDiving senior skydiving instructor Nick Armstrong. “Iʼve been jumping and instructing for years and weʼve never seen anything like GunMetalʼs Pipe Bomb. Not only are these units fun to use but they are very compact and fit perfectly on our dive helmets. We found that using Pipe Bomb cameras was no different from using any other existing camera hardware which weʼd use to film our jumps. From a safety standpoint all of our skydivers who used the Pipe Bomb on their jumps felt very comfortable and that the systems presented minimal hazard during operations. Watching our jumps in 3D has been incredible. Weʼve never shot in 3D before so getting perfect footage the first time out was amazing.” “Weʼre thrilled to see the Pipe Bomb hit the market ” says GunMetal CEO Chad J. Cruchley.  “Weʼve already seen some fantastic footage during our tests and weʼre very excited to see the various ways users will implement these new cameras. As an indie film producer myself I was shocked to see how much 3D production and post-production can cost. With the release of the Pipe Bomb 3D camera system we have the capability to put a significant amount of dollars back into the budgets of the production community.” GunMetal Industries www.gunmetal.tv ,2318
Actor Jon Heder Tests the Potential of Crowd Sourcing,2011-03-25,Proving that more is merrier actor Jon Heder (Napoleon Dynamite Blades of Glory) and director Nicholas Peterson (MuM Dark Mind) turn to crowd sourced funding website Kickstarter to raise funds for a new short film titled Drained. Crowd source funding strikes Nick and me as a fresh new way to fund bold filmmaker-driven films in the future. So we're testing it out to see where it takes us says Heder. Heder will draw on his background in animation to serve as producer of this cautionary tale that combines stop-motion animation techniques and a digital background with live actors to tell the story of a woman gradually crushed by the destructive forces of an abusive relationship. Through Kickstarter we hope to fund a film that is bigger than each individual's contribution says Peterson. For as little as one dollar people who are passionate about film can help put story to screen. To get involved with the new film visit the Kickstarter project by visiting http://goso.com/VTKNy. In addition you can follow their progress on Facebook: http://facebook.com/DrainedFilm. ,2319
Revenge of the Electric Car Gets Tribeca Spotlight,2011-03-25, Revenge of the Electric Car will have its world premiere in New York City at the Tribeca Film Festival on Earth Day April 22nd.

Revenge of the Electric Car is a new feature documentary film about electric cars from Chris Paine director of the 2006 success Who Killed the Electric Car?   The new film tells the story of how the plug-in car as come back from the dead in just a few short years going behind the scenes for three years with three carmakers and one converter as they race to bring their electric cars to market.  With gas prices rising around the world again in monetary and environmental terms many drivers want alternatives.

Tribeca announced that Revenge of the Electric Car will make its grand debut during the opening weekend as its Spotlight feature documentary. The filmmakers are especially excited to be premiering at such a prestigious festival. “For many people this is year one of the electric car ” says Paine. For us to be playing at Tribeca in New York on Earth Day is a great sign that the electric car revolution is are more then just a great story it's our future with less imported oil.

 After the Earth Day premiere the film will have a handful of other screenings at the Tribeca Film Festival. Tickets to those screenings will go on sale at the festival’s website within the next few weeks. ,2321
CGR Cinémas now part of Sensio’s 3D Live Network,2011-03-25,Sensio Technologies has announced the continued expansion of its 3D Live Network which now includes more than 750 screens. The Montreal company is partnering with Circuit George Raymond to add its network of 34 multiplexes enabling access to live 3D events for the inhabitants of 34 French cities. The first event of the new partnership was the last match of the 2011 RBS 6 Nations Championships pitting France against Wales at the Stade de France which was screened on March 19th. CGR Cinémas is a forerunner in digital cinema in France and recognizes the opportunity that live 3D events represent says Jocelyn Bouyssy chief executive officer of Circuit George Raymond (CGR Cinémas). By partnering with the leader in this sector the pioneer in live 3D and creator of the high-fidelity format Senio Hi-Fi 3D we can ensure we will stay in the lead pack of this new form of entertainment. This further expansion of our network and this additional event of the final 2011 RBS 6 Nations France versus Wales rugby match proves that there is a real and growing interest in live 3D events in cinemas says Richard LaBerge executive vice president and chief marketing officer at Sensio. We're very proud that thousands of rugby supporters in the most fanatic regions of France will be able to experience the match as if they were on the sidelines thanks to our technology. CGR Cinémas www.cgrcinemas.fr ,2322
Spider-Man Movie Using 3ality’s New Wireless Handheld Beam Splitter Rig,2011-03-25,The Amazing Spider-Man directed by Marc Webb now in production from Columbia Pictures under the direction of Marc Webb Directed by Marc Webb the film is using 3ality Digital’s new TS-5 wireless and handheld beam splitter mirror rig. Award-winning cinematographer John Schwartzman the film’s director of photography chose the TS-5 because of its small size and the control it gives over the stereoscopic 3D image. Schwartzman and the production team held a series of tests using the TS-5 and found it could shoot in 3D but perform at the same speed as in 2D. Schwartzman says “We tested virtually every product on the market and chose 3ality Digital because we were impressed by the compact size of the TS-5. You don’t get the unwanted shadowing effects during shots which sometimes appear using other 3D rigs and the lens changes only take a few minutes. We wanted a rig that would not only deliver the best quality and performance but also one that wouldn’t delay the production so we have all the benefits of a S3D picture and we’re shooting to a 2D schedule”. This is the first feature film in production to utilize 3ality Digital’s intelligent integrated systems. Steve Schklair CEO and founder of 3ality Digital says “Our systems are designed to enable directors shooting in S3D creative freedom and pixel-perfect accuracy of images but with the same ease as 2D filming. It is fantastic that 3ality Digital’s rigs are being used for this year’s biggest movie productions.” “Marc Webb is set to take the Spider-Man movies in a new direction and shooting the picture in S3D will certainly add an exciting element ” Schklair says. “We’re looking forward to seeing the finished project as I’m sure millions of fans are around the world.” The Amazing Spider-Man is back on the big screen for the first time in 3D on July 3 2012.  The film stars Andrew Garfield Emma Stone Rhys Ifans Denis Leary Campbell Scott Irrfan Khan Martin Sheen and Sally Field.  The screenplay is by James Vanderbilt Alvin Sargent and Steve Kloves based on the Marvel Comic Book by Stan Lee and Steve Ditko.  Laura Ziskin Avi Arad and Matt Tolmach are producing the Marvel Entertainment production for Columbia Pictures.  The executive producers are Stan Lee Kevin Feige and Michael Grillo. 3ality Digital www.3alitydigital.com ,2324
Bluegreen Opens World Golf Hall of Fame IMAX Theatre,2011-04-14, Bluegreen Corporation has announced that the World Golf Hall of Fame location of the IMAX 3D Theatre located near Bluegreen’s Grande Villas at World Golf Village golf resort in St. Augustine Florida is open for business. The company says the World Golf Hall of Fame IMAX is the Southeast’s largest IMAX Digital 3D theatre and only the fifth institution in the world with this new technology. 

The new 3D IMAX Theater at World Golf Village provides a completely new experience for Grande Villas’ owners and guests. With its largest in the Southeast screen digital audio and video IMAX enhances the overall amenities of the area and contributes to turning World Golf Village into a destination. 

 “The Bluegreen owners will have while staying at Grande Villas an excellent accommodation first class golf opportunities and now – movie theatre visit like never before in the new 3D IMAX.” says Vesko Ivanov resort general manager at Grande Villas at World Golf Village.  “Combined with the history and charm of St. Augustine relaxation at the beaches of First Coast and pampered by Grande Villas’ customer service reward winning staff our guests will have memorable and unparalleled vacation experiences.” ,2335
U.S. Cinema Advertising Saw Double-Digit Growth in 2010,2011-04-14, Advertising in U.S movie theatres grew by more than twelve percent in 2010 according to a new report released by the Cinema Advertising Council. According to the association’s report total cinema advertising industry revenues of CAC members – which account for more than 82 percent of U.S. movie screens – grew by 12.7 percent to $658 255 000 in 2010 as compared to a total of $584 067 000 in 2009.  The announcement of the report – which was independently tabulated by Miller Kaplan Arase & Co.  – was made today by Cliff Marks president and chairman of the CAC.  
 
 Cinema advertising grew despite a year that witnessed continued softness among other traditional media.  For 2010 regional and national cinema advertising sales were up 13.9 percent compared with the previous year accounting for 80.2 percent of the industry with local growing 8.2 percent year-over-year and accounting for 19.8 percent of the total cinema advertising market.
  
“The number of major marketers and their agency buyers and planners who have come to understand firsthand the value of the cinema audience has exponentially increased during the last five years. Finally brands are including cinema in the video arena and planning cinema as part of their media mix as we now deliver large reach as well as the ability to target niche audiences ” says Marks.  “With advances in digital and 3-D we are seeing more brands embracing cinema for its ability to leverage the power of sight sound and motion. Specifically cinema has the largest 3-D platform in the U.S. allowing brands the opportunity to do 3D advertising with mass scale and precise targeting.”  
  
The CAC report includes revenue data for both on-screen cinema advertising – including commercials airing in advance of movie previews and the feature presentation – as well as off-screen revenues – including those delivered by digital video and audio programming sampling special events concession-based promotions and lobby-based promotions.  On-screen revenues accounted 91.5 percent of total cinema advertising revenues and were up 10.8 percent year over year while off-screen revenue (8.5 percent of total cinema spending) was up 38.4 percent.
  
Top national cinema advertising categories in 2010 included Auto Electronics Entertainment Financial Communications Consumer Packaged Goods Health & Beauty Soft Drinks Military and Video Games.  Additionally growth in 2010 was attributable to increasing activity across a broad spectrum of emerging categories from Confection & Snacks and Electronics to Insurance Luxury Goods Pharma Spirits Technology Toys & Games and Travel & Tourism. ,2336
Cinemark to Build Fourteen-Screen Theatre Near Fort Worth,2011-04-14,Cinemark Holdings has announced plans to construct a 14-screen all-digital movie theatre that will feature the company's new Cinemark NextGen design concept. Cinemark has entered into an agreement to purchase 10 acres in Presidio Junction a 300-acre master planned mixed-use development eight miles north of downtown Fort Worth Texas. Slated to open just in time for the 2012 summer blockbuster season the new Cinemark NextGen theatre will offer the latest technology amenities and customer-preferred options all under one roof. The new Cinemark XD Extreme Digital Cinema auditorium will be the fourth in the Dallas area. The XD auditorium is the largest in the theatre complex and offers a complete entertainment environment featuring a wall-to-wall and ceiling-to-floor screen plush seating and a custom JBL sound system with higher end components and 7.1 capable digital surround sound. The digital images will be delivered by a Doremi server and a Barco DLP digital projector. The XD auditorium will exhibit the newest movies every week including 2D and Real D-3D pictures. Cinemark currently operates nineteen theatres in the Dallas Fort-Worth Metroplex says Alan Stock Cinemark's chief executive officer. We are thrilled to construct a new Cinemark NextGen movie theatre for our customers in Fort Worth. The state-of-the-art design represents the next generation in cinema. We have created an entertainment environment that offers technologically advanced amenities and a movie-watching experience that simply cannot be duplicated. This new complex will be a great addition to the highly anticipated Presidio Junction development. With the infrastructure already in place we can move very quickly to achieve an opening next summer. ,2337
Ocean Telecine Controller Now Supports Cintel DSX C-Reality,2011-04-14,Marquise Technologies has announced that its Ocean telecine controller now supports Cintel DSX and C-Reality telecine family. Many prestigious clients of Cintel own a DSX telecine it’s a very impressive machine in terms of features and quality. Now relying on an up-to-date and maintained telecine controller they can continue to benefit from their initial investment says Laurence Stoll CEO of Marquise Technologies. The support for DSX also includes the ability to remote control Cintel’s Oliver system (dust and scratch removal tool). Simon Clark Cintel’s business development manager says The Ocean system is an extremely competent telecine suite controller at an extremely competitive price. Now that Marquise Technologies have added control for the DSX C-Reality and Rascal family of data-cine’s we can provide a solution to facilities who are having to rely on obsolete and unsupported controller systems as well as offering very powerful SD HD and Data primary and secondary color correction.” Ocean is meant to be a universal controller and because DFT’s Telecines and DataCines represent an essential part in the telecine market it was a natural evolution for our controller to have support for these systems too. We are very happy to be able to answer the numerous requests from our customers says Laurence Stoll CEO of Marquise Technologies. Support for Spirit and Shadow includes Scan Effects Primary Color Corrections and Secondary Color Corrections controls. Marquise Technologies has designed a very inexpensive telecine controller that nicely covers the need of cost efficient telecine film to video transfers in conjunction with the Spirit DataCine or Shadow Telecine. DFT can now offer very attractive factory refurbished telecine packages together with an Ocean controller that will fit into everyone’s budget. With a worldwide installed base of more than 450 units in the market the Spirit family is still covering the majority of transfer bulkwork today for broadcast commercials and DI says Michael Schneider sales manager EMEA at Digital Film Technology Munich GmbH.