Imagica Installs a FilmLight Baselight Four Color Grading System

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Wed, 05/12/2010 - 20:00 -- Nick Dager

Japanese post house Imagica has installed has a Baselight Four color grading system from FilmLight into one of its existing digital intermediate suites at the Tokyo Imaging Centre. The new system is equipped with parallel GPU processing 3D stereoscopic toolset temporal grain reduction and RAW file format handling of images shot with the latest digital cameras. The system will be used to color-grade 2K and 4K features for both film and digital release including 3D stereoscopic productions.  “On a daily basis we do color-grading on various categories including feature films re-mastering of film archives trailers stereoscopic content and TV commercials ” says Takehiko Ochi manager digital imaging group post production department. “Inevitably we chose Baselight to play a leading role in our DI workflow. We are very excited about the flexible functions and high performance of Baselight Four; it will allow our colorists to demonstrate their creativity without any stress. “FilmLight is committed to providing world-class solutions to the top facilities in Asia and around the world ” says Scott Craig managing director of FilmLight’s regional office in Singapore. “We are delighted to be working closely with Imagica.” ,1704
Malibu Film Festival Screens its First 3D Film,2010-05-13,The Caretaker 3D starring Dick Van Dyke marked the first time that the Malibu Film Festival has included a 3D film into the program. The short film is fantastic in 3D says festival producer Ryan Levee. Jeffrey Amaral of Demand Z Content who co-wrote the film with director Sean Isroelit produced the movie. The movie was produced as a tribute to the role of the Hollywood Sign Trust as the custodians of the global icon and is based on 1930s legend of a caretaker who lived behind the letter L of the famous landmark. Van Dyke portrays the mystical handyman whose job it is to replace the light bulbs that once illuminated the HOLLYWOODLAND sign. A standing room only crowd gave the film and TV star a warm welcome after he made a personal appearance at the Festival. Fifty years after Mary Poppins the 84-year old star is still enthusiastic about working on the cutting edge of cinema technology. It's great to actually be here in 3D says Van Dyke a Malibu resident marking his first appearance in a 3D film. I love this 3D stuff. I'm ready to jump right back into 3D again. I was born to be seen in three dimensions. Director of cinematography on The Caretaker 3D was Allen Daviau ASC (E.T. The Color Purple Bugsy) in his first stereoscopic effort.  The stereo camera technology was provided by 3ality Digital post-production was by Fotokem and visual effects were by Hydraulx. The Caretaker 3D is director Isroelit's second award-winning S3D effort. We gave every aspect of The Caretaker 3D top shelf production value says Amaral and Dick Van Dyke's warm portrayal of the title character is the kicker. Based on the enthusiastic response we've had to this short film we're fast-tracking our next feature length effort Magic Carousel 3D a Mary Poppins-style 3D family musical tent pole that will drive people wild with joy. ,1706
MPEGIF and ISMA Announce Merger
,2010-05-13, The boards of directors of the MPEG Industry Forum and the Internet Streaming Media Alliance have entered into a binding agreement to merge the two organizations by allowing MPEGIF members to become ISMA members and going forward as MPEGIF within the ISMA California non-profit corporation. MPEGIF’s current structure as a Swiss association will be dissolved.
  “ISMA delivered massively important technology contributions resulting in great value and lasting benefit to our industry over the years ” says Sebastian Moeritz president of MPEGIF and CEO at Dicas. “We are absolutely delighted to see the long cooperation and mutual admiration between ISMA and MPEGIF result in this agreement.”
 MPEGIF is pleased to take this opportunity to increase its strength and to gain the operational efficiencies we will be able to bring to our members says David Price vice president of MPEGIF and vice president at Harmonic. The industry is facing huge changes in the way video is enjoyed and the advocacy of MPEGIF for solution wide standards is more vital than ever.
  “ISMA’s highly successful standards will gain additional visibility through the merger and will continue to be widely available to the broader industry through the success and influence of MPEGIF ” says Yuval Fisher chair of ISMA and CTO of RGB Networks. ,1707
Mytherapy Creates 3D Cinema Commercial for Panasonic 3DTV Launch,2010-05-13,Central London post facility Mytherapy D-Cinelab recently beat the clock to complete a stereoscopic 3D commercial for Panasonic Viera 3D HD TVs. Panasonic struck an unprecedented deal to sponsor all 3D movies in every VUE and Odeon cinema in the UK. But because the deal started in April they had only three weeks to come up with a 3D commercial to announce their arrival in the 3D world with the launch of their VT20 3D TV. The decision was made to convert an existing 2D spot to 3D. “Having worked with Mytherapy D-Cinema on other projects including the creation of Panasonic’s idents for their sponsorship of Live At Abbey Road he was our first port of call ” says Ash Bendelow group account director at Panasonic’s agency Brave. “Our close working relationship with Mytherapy’s managing director Dado Valentic meant we already knew he was at the forefront of 3D production in the UK. If he couldn't do it no one could.” Mytherapy used existing 2D-to-3D conversion tools alongside their own proprietary systems. The spot was depth graded and 3D mastered on Iridas Speedgrade. Digital cinema mastering was accomplished using the Mytherapy’s D-Cinema mastering system and testing was carried out using the Dolby 3D Digital Cinema system. “Working with Dado is like watching a surgeon at work – he’s precise honest in terms of what can be achieved and able to produce miracles ” says Bendelow. “Not only is the client ecstatic with the result but cinemagoers have been blown away by the spot. It really cements Panasonic’s position as the leader in 3D technology. Going forward we shall be working closely with Dado and Mytherapy to produce specific 3D content and advertising – because he's the best in the biz.” Mytherapy ,1708
Coming Soon to a Theatre Near You ,2010-05-13,By Melissa Keeping As we filed in with our glasses of wine and found programs on our seats the atmosphere in the cinema was buzzing with anticipation. On the screen in front of us you could see a similarly excited crowd filing into London’s National Theatre and an empty stage in front of them the set for Alan Bennett’s The Habit of Art. We were about to see the work of one of the greatest living playwrights’ live featuring some of the UK’s finest actors from the comfort of our reclining seats in Clapham South London. Anyone who scoffs at the prospect of a live show beamed into a local cinema think again.  The applause was genuine the laughter sincere. Even the occasional satellite glitch causing sound dropouts caused audible frustration such was the engagement of the audience.  This packed cinema on a Wednesday night is just a glimpse into the limitless world of alternative content and as Rosemary Desiati Sales & Marketing Director at Deluxe Laboratories Italy reminded me recently ‘It’s the future of cinema.’ The alternative content revolution has been making steady progress in line with the gradual deployment of digital screens worldwide but is only now beginning to receive the attention it rightly deserves.  The term ‘Alternative content’ was being discussed vaguely in the early 2000’s; Christie for example predicted the varied use of digital projectors and its benefits to industries other than the major studios even then but the actual idea for live and recorded content such as music events and opera had already been germinating widely for some time.  Christine Costello Managing Director of More2Screen one of the premier alternative content distributors in the marketplace explained that the approach in the US has been more live and music focused while in Europe the bias has tended toward opera ballet and the arts. But this is unlikely to remain this way for a variety of market-driven reasons. Fast forward to November 2009 and in a study conducted by Screen Digest the alternative content market is estimated globally to be worth $104.6 million. By 2014 it is projected to be worth $526.5 million. The global aspect is key. Whereas the inward-looking major studios took decades to exploit the international market (and only in the 90s did international box office revenue finally surpass the ‘domestic’ market) globalization accelerated by advancing technology from VoD to Twitter from 2K projectors to satellite broadcast has opened up a vast market just waiting to be tapped.  Communication is better and faster than ever the world is a lot smaller and the savvy alternative content providers and distributors have leapt at a golden opportunity. Although certain major studios are gradually tailoring their business to accommodate alternative content – Sony’s Hot Ticket for example – much of the business is still very much US-focused concentrating predominantly on live music acts like Miley Cyrus and Celine Dion. International opera theatre and ballet meanwhile flourishes in cinemas from Australia to South Africa Japan to Israel. New markets are opening up all the time and while the major studios are certainly aware with the exception of Sony and Disney in the US so far little has been done to capitalize on this market. Opera is probably the best example of alternative content’s success. The Met has been aggressively moving into new territories with huge success closely followed by the Royal Opera House La Scala Teatro Liceu Barcelona etc. The big pull is live shows but the satellite link up is still a burgeoning concept for many exhibitors still bruised from costly projector upgrades so we are a few years away from blanket coverage.  The Royal Opera House has overcome this obstacle by offering a combination of recorded and live opera and the two complement each other perfectly.  Eventually 3D will be part of the package but this may be some time away yet. From an exhibition viewpoint the Odeon cinema chain in the UK is offering weekday matinee screenings of recorded opera and branding it Odeon Senior Screen.  By offering free tea and coffee to a regular audience they are effectively killing three birds with one stone: filling an otherwise empty cinema at very little cost maximising a PR opportunity by giving something back to the local community and marketing the product by trailering live opera to the audience in situ.  Opera fans are willing to spend more than the usual ticket price to see both live and recorded content so Odeon and the numerous other cinema chains worldwide are finding the initiative pleasing on many levels. Rather than threaten the monopoly of the majors alternative content is peacefully co-existing alongside them. For now.  More2Screen’s Christine Costello agrees principally as the nature of alternative content tends to appeal to off-peak times in the cinema so there is little for the majors to worry about.  The danger she says is when we reach a critical mass of good quality alternative content available but we are a few years away from that at the moment.    The studios shouldn’t get too comfy; as alternative content’s umbrella extends to cover celebrity Q&A frequent live music (in 3D) political debate and even religious services demand for high profile alternative content sporting events such as the as the FIFA World Cup the 6 Nations Rugby and the Olympics may cause studio execs concern from time to time as schedules inevitably conflict.  One-off events are already a headache for exhibition to schedule so Costello suggested creating a channel of sorts to stream this content into cinemas as and when it is available. However all content requires marketing and that’s where the majors have a huge advantage. A well-respected studio executive in the US told me recently “It is very exciting to see some theatres try this  [alternative content] out and succeed in ways we would not have imagined. I think they have all found out that it still requires advertising and marketing in some form or fashion. You are competing for people’s entertainment time so you have to get the word out. If you can create that demand like opera did then I think it opens a whole new avenue for entertainment.”   Food for thought but what of the effect on the major studio output?  “Great movies sell tickets and there is still a good demand for great movies ” our insider went on. “Perhaps it could push some of the weaker performing films off of the screen and move them to Home Video sooner but that is happening now even without alternative content at the multiplex. What it can do is enhance the business I think. If theatre owners can gain some profits by taking advantage of great content to supplement their core business then it could be a very positive outcome. It may not be a good fit for everyone but it is certainly worth experimenting with.” If a happy by-product of healthy competition between the alternative content market and traditional Hollywood fare means the bar has been raised at the cinema let’s celebrate.  But let’s not be too simplistic – this is Hollywood after all and money talks louder there than anywhere else.  The alternative content market has a lot of catching up to do yet. With a total of up to 10 000 screens to be upgraded in the near future this seismic shift in exhibition can’t be underestimated and the emerging perception of cinema-as-cultural centre can only be a good thing for the exhibitor the audience the content provider and the distributor. Maybe even the majors eventually. Ultimately it’s a win-win situation and a very welcome revolution indeed.   ,1709
Rising Sun Pictures Hopes to Benefit from Tax Breaks,2010-05-13,Rising Sun Pictures which has produced visual effects for more than sixty feature films including the Harry Potter series expects to be a chief beneficiary of newly expanded trade rebates designed to promote film production in Australia. The Australian government announced this week an update of its Screen Production Incentive program which provides rebates for various activities related to film and television production. Among other things the update includes a dramatic lowering of the threshold for PDV (post digital and visual effects) work completed in Australia. Previously the incentive applied only to productions spending more than $5 million on PDV work. Going forward the tax break will be available to productions spending just $500 000. This rebate of 15 percent applies to all qualifying costs within Australia not just labor. The new lower threshold promises to pay huge dividends for Rising Sun the largest independent provider of visual effects services in Australia. It will allow the company to compete effectively for many more film projects that previously considered the $5 million threshold an impediment for completing their work in Australia. The cyclical nature of large-scale VFX contracts means that companies such as Rising Sun need to compliment this kind of work with numerous smaller contracts to achieve a consistent workload. The lowering of the threshold will enable Rising Sun to not only attract new clients but also maintain the capacity to create high volumes of complex visual effects on packages of work greater than $5 million. PDV has evolved into a global industry over the past several years. Innovations in technology such as Rising Sun’s cineSync have made it possible to collaborate remotely with film producers in Hollywood London and elsewhere. A workforce of highly skilled and talented post-production and visual effects artists has also emerged worldwide. Additionally governments in many parts of the world have enacted tax rebates and other measures to attract production work. The Film Incentive program developed by the Australian government allows a large company like Rising Sun to compete on a level playing field with the top visual effects suppliers in the US UK & Canada. Rising Sun Pictures ,1710
Starplex Cinemas Adds 123 Digital Screens ,2010-05-13, Starplex Cinemas of Dallas Texas will convert 123 additional screens to digital cinema using Barco's new Series-II projectors. As part of Cinedigm's Phase 2 digital cinema deployment program the conversions are underway with full deployment expected by November. Barco's turnkey installation which also includes servers by GDC Technology will be supported by Barco's Network Operations Center and 24/7/365 Call Center. Barco's new DP2K-C series projectors will be used in Starplex's small and mid-sized venues. For their large-scale auditoriums Starplex will employ the new DP2K-32B projector. As the flagship of the Series-II lineup the DP2K-32B is the ultimate 3D machine delivering the industry's brightest image. All six new Series-II projectors include next-generation electronics specifically designed for DLP Cinema Enhanced 4K. These projectors will be connected to central library servers which will store content and will use Cinedigm-developed software to manage and program each auditorium's playlists from a central location using the movies trailers advertising and other content stored on that central server. Starplex Cinemas first installed Barco digital cinema projectors in 2008. “Starplex is excited about the continued relationship with Barco ” says Steve Holmes CEO of Starplex Cinemas. “Since our first conversion to digital the entire Barco team has provided us with excellent support and service. Based on this proven track record Barco was the clear choice for Starplex to convert our entire circuit.” “Starplex is a highly respected exhibitor that's no stranger to the digital cinema space and we're proud to say that they're a very satisfied Barco customer ” says Joe DeMeo director of sales for Barco Digital Cinema NA. “Across the entire Starplex circuit they're a great company with a superb technical staff and we look forward to implementing their migration to Barco Series-II projectors.” Barco Starplex Cinemas ,1712
Uptown Entertainment Converts to Digital,2010-05-13,Uptown Entertainment has converted 19 screens in their two Birmingham Michigan locations – Birmingham 8 and Palladium 12 – Sony Electronics’ 4K digital cinema technology.     “This conversion is in line with our goal to be the best ” says Barb Zanetti senior director of Uptown Entertainment which includes the Palladium12 and Birmingham 8 theatres.  “From our seating to our concessions and especially when it comes to sound and viewing we want to deliver the very highest quality.  This conversion will mean that our customers get the best viewing experience for a wide range of digital entertainment – whether it’s the latest motion picture or something as unique as watching their favorite sports team or band perform.”      With the conversion which is expected to be completed by summer 2010 Uptown will also outfit several screens for 3D digital projection combining Sony’s single-projector 3D lens system with RealD 3D technology.      “This will really revolutionize the movie-going experience and it will revolutionize our business as we are able to bring a whole new level of entertainment options to our customers ” says Zanetti. Sony’s Digital Cinema Solutions and Services group will work with Uptown Entertainment on the integration installation maintenance and service support for its 4K conversion providing the exhibitor with a complete turnkey solution for converting to digital technology.      “We are excited to be working with Uptown Entertainment ” says Gary Johns senior vice president of Sony Electronics’ digital cinema division. “They are committed to enhancing every aspect of the theater experience specifically by expanding their focus on a broad alternative content program to bring fresh innovative entertainment options to the big screen for its guests and create new business opportunities for its operations.” ,1713
Wildwood Theatres Converts Two Theatres,2010-05-13,Wildwood Theatres is installing Sony Electronics’ 4K digital cinema technology at its Beloit and Janesville Wisconsin locations. The exhibitor has already completed its digital conversion at 20 of its 26 screens. Wildwood’s 4K roll-out also includes outfitting four screens for 3D digital projection combining Sony’s single-projector 3D lens system with RealD 3D technology enabling the exhibitor to present the highest-quality 2D and 3D digital projection.      Anthony Groh owner of Wildwood Theatres was convinced that the Sony 4K systems and Real D 3D technology delivered the right equipment mix to meet the new demand of 3D movies.      “We were really pleased to have converted up to 20 of our screens in time for the recent blockbuster Avatar ” says Groh. “Sony’s 4K technology provides unprecedented resolution contrast and image quality. The result is a unique and dynamic entertainment experience for our theater customers.” “Our 4K technology offers real benefits for exhibitors and their customers ” says Gary Johns senior vice president of Sony Electronics’ digital cinema division. “It elevates the theater to a more engaging and immersive entertainment environment and it also allows exhibitors to provide exciting additional programming that perfectly complements their current offerings.” ,1714
Macao Digital Cinema Festival Convenes May 27 in China,2010-05-14, The first annual Macao China International Digital Cinema Festival and Entertainment Technology Expo and Macao 3D Summit is being held May 27-29. China’s State Administration of Radio Film and Television is running the event with the help of Americans Jeff Greene and Randall Dark. With a population of 1.3 billion people – a full 20 percent of the world population – China represents an enormous market for cinema and the country has a thriving movie industry of its own. And the country has already embraced digital cinema. Guangdong’s Dadi Digital Cinema China has more than 300 digital screens installed by Barco. Guangdong is China’s most populous province with over 90 million inhabitants. Barco also installed about 300 digital cinema systems for Jinyi Zhujiang Movie Circuit China's sixth largest cinema chain and has signed a contract for the deployment of 100 digital cinema systems for Zhejiang Time Cinema China's seventh largest cinema chain. Dark is a member of the Academy of Television Arts and Sciences and is one of a select few members of the Consumer Electronics Association’s Academy of Digital Pioneers a group recognized for their efforts implementing Digital Television in the United States. Dark also received one of the International Electronic Cinema Festival's top honors: The Pioneer Award bestowed in recognition of extraordinary contributions to the success of HDTV. Dark also serves as the Artistic Director for the Macao China International Digital Cinema Festival which he co-founded in 2009 to showcase films from around the world. Recognized globally as an expert in emerging technologies Dark has spoken to audiences at events including: MIPCOM ASBAA-Hong Kong Tokyo International Film Festival Banff World Television Festival National Association of Broadcaster's Convention International Electronic Cinema Festival Infocomm Consumer Electronic Show HDExpo World Television Forum CreaTVty Zurich Canadian Association of Broadcasters Convention Hollywood Post Alliance New York State Bar Association Bear Stearns Media Conference and NATPE. Randall recently gave a Key Note address at the Creative Storage Conference in Las Vegas the HD Summit in Los Angeles and the Production Innovations Forum in Toronto Canada. Regarded as an authority on a number of aspects of international military and aviation history Greene has been developing writing and producing documentary television programming on these subjects since 1994.  Projects developed by Greene have been filmed in Russia the Ukraine Britain Germany Israel and the People’s Republic of China. Also with the cooperation of Yunnan provincial authorities and a number of Chinese governmental institutions and agencies Greene has co-written and is developing a digital 3D motion picture project for the large and giant/Imax screen Shimalaya – The High Road to China 3D an aerial adventure that will portray China’s fabled Second World War trans-Himalayan aerial supply route. Macao China International Digital Cinema Festival ,1716
New Roxio 3D Survey Shows Strong Consumer Interest in 3D for Home ,2010-05-28,Roxio a division of Sonic Solutions has released the results of a web survey that indicate significant consumer interest in not only watching 3D entertainment in the home but also capturing and enjoying personal photos and home movies in 3D. Of those polled 84 percent indicate they are interested in viewing Hollywood 3D movies in the home while almost 80 percent believe they will be taking 3D video or capturing 3D photos of family events within the next five years. The results of the web survey reaffirm our conviction that the dramatic impact 3D is having on the big screen will translate to the small screen and reshape how consumers interact with personal media and premium entertainment in the home says Mark Ely executive vice president strategy Sonic Solutions. We look forward to the year ahead and using our complete Hollywood-to-Home 3D products services and technologies to help fuel the market for home 3D. Select survey findings: The Roxio 3D survey revealed some of the award-winning movies popular TV shows and key sporting events that consumers would be most interested in viewing in 3D. From a list of sporting events that included the Super Bowl NBA Finals and the World Series the Olympics ranked as consumers' top pick to see in 3D. As well as looking at consumer interests related to premium entertainment the survey looked at the appeal of 3D for personal media enjoyment. In addition to the almost 80 percent who believe they will be taking 3D video or capturing 3D photos within the next five years a staggering 75 percent indicate they would be interested in converting some of their existing 2D personal videos into 3D content. In addition the survey explored price sensitivity related to 3D digital camera purchases and asked consumers which family events they would be most interested in capturing in 3D. The informal Roxio 3D survey was conducted in March 2010 and collected responses from almost 2 000 Roxio software users residing in the U.S. Click here to view the complete survey and results ,1725
Apollo Carmarthen Cinema Claims Europe’s First All-3D Multiplex,2010-05-28,The Apollo Carmarthen Cinema in South West Wales which opened its six-screen picture house earlier this spring says it has become the first all digital 3D-ready multiplex in Europe. The multiplex has Harkness Screens Spectral 240 3D screens in all six theatres. “We have been using Harkness Screens in our cinemas for some time now and we are delighted with its quality and service ” says Rob Arthur managing director for Apollo Cinemas.  “As Sony 4K digital projectors are introduced into our cinemas it is essential that we have a projection surface capable of providing breathtaking images.  Harkness’ Spectral 240 3D screen allows us to give cinema patrons an enhanced viewing experience never before seen.” With a total of six screens and a seating capacity of 1 000 the Apollo Carmarthen Cinema features luxury stadium seating and other amenities. “While other cinemas in Europe that are currently “all 3D” only have one screen the Carmarthen Cinema is the first that can show 3D on all of its multiple Harkness Screens ” adds Arthur. Apollo's Carmarthen multiplex is the ninth of Apollo's 14 U.K. sites to introduce digital projection and follows installations in Redditch Altrincham and Fareham. Since the company switched to digital it has transformed 27 percent of its business to 3D. Among the first films that will be shown at the cinema will be comic book sequel Iron Man 2 and fantasy remake Clash of the Titans. Apollo Cinemas Harkness Screens ,1727
Band Pro Offers FGV 7D-PL for Cinematographers,2010-05-28, Band Pro is offering the new FGV 7D-PL camera modified by FGV Schmidle. This versatile cinematography tool is a standard Canon 7D permanently retrofitted with a one-piece lens/sensor/base-mounting element made of solid steel. Unlike most DSLR modifications the FVG 7D-PL comes with a one-year limited warranty from FGV Schmidle. The camera’s mirror and optical viewfinder are removed and the original sensor block is rigidly reinstated in connection with the one-piece 3/8-inch threaded steel mounting bracket and PL lens mount which ensures that all critical elements of the camera move as one. A three-pin Fischer connection is added to allow start/stop control when using a handgrip system or remote camera controls. This makes the modified 7D ideal for remote rigs car rigs and cranes/jibs. The 7D utilizes an APS-C sensor closely matching the size and depth-of-field characteristics of other single-sensor digital cameras. The new FGV 7D-PL is a professional moviemaking tool that can accept most popular PL lenses. Band Pro Film & Digital ,1728
Cinema Advertising Creative Excellence Awards Announced ,2010-05-28, The Cinema Advertising Council has named the winners of its 2009 CAC Creative Excellence Awards.  Awarded annually the council recognizes the achievement of high-quality and entertaining advertising that appeared during the past year on a national regional and local scale.

 “With record-breaking box office results 2009 was a great year for the movie business and the advertisers who chose the cinema platform ” says Michael Chico president and chairman of the CAC. “Congratulations to the latest recipients of the CAC Creative Excellence Awards.  We have already seen some stellar work hit theatres in 2010 and look forward to seeing what the industry comes up with as the rest of this year unfolds.”
  The CAC Membership chooses nominees and the winning creative was determined by votes from the CAC board of directors marketing committee members and creative directors from select member companies. Eligibility was determined providing the advertisement appeared in the theatre between January 1 2009 and December 31 2009.

 Following are the winners of the 2009 CAC Creative Excellence Awards:
 Top Regional or National Commercial Spot (ran in more than one theatre in two or more markets) – LG Mobile Communications: LG Cars (enVTouch) (creative: Y&R) Top Regional or National Long-form Advertisement – Breyers: Smooth + Dreamy (creative: Mindshare Entertainment)

 Top Integrated Cinema Advertising Campaign – Sprint: Now Network / Mobile Previews (creative: GSP; Media: Mindshare Entertainment) Top Local Commercial Spot – The Detroit News: Time To Engage (creative: Harvest Productions) Top Digitally Animated Still Cinema Advertisement – Mercedes-Benz: MB of Arrowhead (creative: in-house) Top Still Image Advertisement – Atomic Toys: Toy Shop (creative: in-house)

 Awards are given to the advertiser and/or the creative agency responsible for the advertisements with the exception of the integrated campaign awards which are given to the advertiser creative agency and media agency.   Cinema Advertising Council ,1729
Cinedigm Signs Six CBG-Member Exhibitors,2010-05-28, Cinedigm Digital Cinema has signed six Cinema Buying Group member exhibitors representing 94 screens to its 10 000 screen Phase 2 digital cinema deployment program.  With these recent screen additions Cinedigm will have contracted almost 400 CBG-member screens to participate in Phase 2.   All of the members of the National Association of Theatre Owners’ Cinema Buying Group are eligible to work with Cinedigm using a master license agreement developed especially for CBG members.  The CBG represents more than 600 members that collectively have over 7 000 screens. AJAY Theatres based in Memphis Tennessee already a customer of Cinedigm’s screen advertising business UniqueScreen Media is the largest of the six with 56 screens in four locations.  AJAY will be purchasing Cinedigm Certified digital cinema systems including Barco projectors for all 56 screens.   Other independent exhibitors include: West Orange 5 with five screens in Ocoee Florida; Athena Grand with 11 screens in Athens Ohio; Great 8 Cinema with eight screens in Union Missouri; Sullivan 6 Cinema with six screens in Sullivan Missouri and Keystone Cinema with eight screens in Bardstown Kentucky.

 Bill Campbell CBG managing director says “The CBG team has worked hard with Cinedigm to create the opportunity for independent exhibitors to gain the benefits of digital cinema technology for their theatres.  Our members get the same advantages as larger exhibitors while utilizing the unique and flexible financing options available in the Cinedigm Phase 2 deployment program.  Knowing that they will be able to participate in the future of bringing digital movies and alternative content to their loyal customers is extremely gratifying.” “Digital cinema is a unique opportunity for all exhibitors regardless of how many screens they operate who want to grow their businesses in the coming years. Cinedigm is proud to have been chosen to work with the CBG and its members to bring our Cinedigm Certified networked digital cinema systems to independent theatres across the country.  The flexibility created via digital cinema not only enables feature movies to be more easily delivered and shown but also enables exhibitors to expand their programming with alternative content and special events.  It definitely can enhance the future of the independent exhibitor who is looking to create an entertainment destination ” says Chuck Goldwater president of Cinedigm’s media services group. Cinedigm ,1730
Cinedigm Closes $172.5 Million Credit Facility,2010-05-28, Cinedigm Digital Cinema has closed a $172.5 million credit facility co-led by Société Générale Corporate & Investment Banking and GE Capital Markets.   This new credit facility will refinance all existing senior and mezzanine non-recourse debt in the Company’s Phase 1 deployment subsidiary Christie/AIX through a newly formed bankruptcy remote subsidiary called Cinedigm Digital Funding I LLC.  The facility has received a provisional rating of Ba1 from Moody’s Investor Service.  The new credit facility will replace the Company’s credit facility led by GE Capital Markets in 2006.

 “We are very pleased to complete this refinancing and to have a provisional rating of Ba1 by Moody’s “ says Bud Mayo chairman and CEO of Cinedigm. “This successful refinancing of our existing debt reaffirms the value of the Phase 1 digital cinema asset base and the critical role Cinedigm plays in driving the exhibition industry’s conversion to digital cinema.”

 Adam M. Mizel CFO and chief strategy officer of Cinedigm says “This refinancing marks the next step in our efforts to strengthen Cinedigm’s balance sheet to improve our access to capital and to continue to position the Company for growth.  We appreciate the strong capital markets execution and lending support from our long time partners at Société Générale and GE Capital.“ 

 “We are excited to have successfully delivered institutional investor commitments for the refinancing of Cinedigm’s Phase 1 digital cinema deployment ” says Richard Knowlton managing director Sociéte Générale leveraged media and telecom finance.  “Together with GE Capital we have expanded funding options for the Company’s current and future digital cinema rollouts.”

 Michael Rhea vice president GE Capital media communications and entertainment says “GE Capital is a long-time supporter of the exhibition industry and of digital cinema.  We are pleased to be helping Cinedigm with their Phase 1 refinance and look forward to continuing our strong relationship.” GE Capital Société Générale Group ,1731
ContentFilm Acquires The Dog Squad: 3D,2010-05-28, ContentFilm International has acquired worldwide rights to The Dog Squad: 3D to be directed by Les Mayfield (Flubber Blue Streak Miracle on 34th Street Encino Man). Steve Carpenter wrote the original script. Voice-over and cast will be announced in the coming weeks. Principal photography is due to start in late summer 2010 in Canada.
The film stars an overweight and lazy Bulldog (Donut) a disgraced former Police Dog (Clint) a sassy Lady Mutt (Samantha) an overly timid Guide-Dog (Bert) and a shamelessly womanizing Chihuahua (Hector) in a live-action family-oriented adventure.
 The movie is ContentFilm’s first 3D production. Rick Benattar (Ironclad Shoot ’Em Up) is the producer.
  Mayfield says “Three of my five best friends are dogs; they always laugh at my jokes. I’ve found that dogs often have more humanity than most humans.”
Benattar says “Les is a great filmmaker with a real eye for comedy.  This is a true family film one everyone can take the kids to and after all who doesn't love dogs in 3D?”
 CFI’s president Carmichael says “The Dog Squad: 3D has just got something extra special about it.  We've put together a studio level production at an independent price and its super high concept.  It's a wonderfully strong idea that is really capturing everyone's imagination.  We're very excited to be working with Les and Rick.” ContentFilm International ,1733
Deluxe Digital Media Upgrades to 4K
,2010-05-28, Deluxe Digital Media Hollywood has acquired a DaVinci Resolve from Blackmagic to provide the ability to color correct in the 4K environment. The new system will be added to their existing suite of Resolve 2K systems. Resolve also handles real time grading of raw Red files. The addition of the new Resolve upgrade will allow Deluxe’s Sherman Oaks facility to improve workflow efficiency and productivity between projects working within different resolutions. “Our relationship with Blackmagic and their products has been excellent.  The Resolve has allowed us to significantly enhance our flexibility and provide services we did not offer previously ” says Gray Ainsworth senior vice president of operations for Deluxe Digital Media.
  Blackmagic Design Deluxe Entertainment Services ,1734
Element Technica Introduces Ultra-Small Neutron 3D Rig,2010-05-28,Element Technica has introduced the ultra-small Neutron 3D rig which is designed to mount lightweight 3D camera packages for stereoscopic video capture from smaller jibs Steadicams portable camera and point-of-view positions. Live sports and entertainment production demand even smaller less obtrusive cameras for point-of-view camera angles where the camera must fit into a tiny and sometimes dangerous space where it is unseen and out of the way. According to the manufacturer the Technica 3D extra-small Neutron rig provides the smallest form-factor with the ability to mount the smallest 2/3-inch or 1/3-inch imager HD cameras such as the SI-2K MINI and the Iconix. Though the Neutron rig is much smaller and lighter weight than Element Technica’s Quasar 3D rig it provides the same simplicity of assembly and operation ability to integrate with standard stereoscopic production controls and the ease of changing camera configuration quickly between side-by-side and beamsplitter modes. Like the Quasar the Neutron can be configured into both over/thru and under/thru beam-splitter modes. Whether a production chooses to employ the larger Quasar the very small Neutron the upcoming medium-sized Pulsar or a mix of both the crew will be able to assemble and align each rig in less than 30 minutes and convert from side-by-side to beam-splitter mode or vice-versa in less than 10 minutes. Element Technica ,1736
Number of European Digital Screens Tripled in 2009,2010-05-28,According to the statistics provided by Media Salles the number of screens equipped with DLP Cinema or SXRD technology at the end of 2009 was 4 693 a 206.9 percent increase over the previous year spurred by the demand for 3D. The European Audiovisual Observatory estimates that gross box office for the European Union increased by 12 percent year-on-year to a new record high of EUR 6.27 billion in 2009 largely thanks to premium prices for 3D screenings. Currently most digital theatres are to be found in Western Europe: as many as 3 904 screens with a 198.2 percent increase compared to December 2008. The five leading markets in Europe in terms of admissions are also those with the highest number of digital screens: the top market France accounts for 19.3 percent of the digital total the United Kingdom 14.2 percent and Germany 12.6 percent followed by Italy with 9.1 percent and Spain with 5.1 percent. The remaining 789 digital screens are situated in Eastern Europe and the Mediterranean Rim where there has been a considerable shift compared to December 2008 and a higher rate of growth than in Western Europe (+258.6 percent): the countries where the greatest development has taken place are Russia with 352 digital screens (7.5 percent of Europe’s total) Poland with 176 screens (3.8 percent) and Turkey with 62 screens (1.3 percent). Compared to the total number of screens in Europe at December 2009 digital screens had achieved a market penetration of 13 percent as against 4.1 percent the previous year (table 1). The number of digital sites in Europe at December 2009 was 2 374 with a 191.3 percent rise over the previous year. The total market penetration of digital sites amounts to around 16 percent as against 5.4 percent in December 2008. Also on the increase is the average number of screens in digital sites which has risen in Europe from the 1.6 screens per site registered in December 2007 to 2.0 in December 2009. The average number of digital screens per cinema varies a good deal in individual European countries. In December 2009 the highest figures were recorded in Belgium (5.3 screens per cinema) Luxembourg (4.4) Austria (4.2) France (3.5) and Portugal (3.4). The leading markets follow at some distance: United Kingdom (1.9 screens per cinema) Germany (1.8) Italy (1.5) and Spain (1.3). Analysing the development of digital screens from a more long-term perspective different growth trends are to be seen in European countries. Countries like the United Kingdom and Germany have recorded a strong tendency towards growth ever since 2006 and after a period of deceleration started to grow again in 2009. Other countries have experienced more gradual development followed by an exceptionally sharp increase over the last few years: since 2008 in the case of France or 2009 in the case of Belgium Italy Austria and Spain. Yet other countries such as Finland and Portugal have concentrated their development in the recent period with an annual yearly increase that has been particularly high over the past three years amounting to 263.4 percent for Finland and 230.8 percent for Portugal. In Europe the development of digital screens seems to be highly concentrated in terms of exhibition companies in view of the fact that at June 2009 5 percent of exhibitors were responsible for 33.6 percent of the overall number of digital screens. The top five players are the French company CGR (with 13.1 percent of digital screens) Kinepolis (6.8 percent) operating in Belgium France and Spain; Cineworld Group (5.6 percent) present in the United Kingdom and Ireland; Odeon and UCI Cinemas Group (4.8 percent) operating as Odeon Cinemas in the United Kingdom as UCI in Austria Germany Italy and Portugal and as Cinesa in Spain; Cineplexx (3.4 percent) present in Austria and in Italy. The motor for the growth that took place in 2009 is certainly 3D cinema: as the North American industry has substantially respected the calendar of releases announced and audiences have proven receptive and willing to pay a premium price to take advantage of the novelty exhibitors have invested in the technology that enables them to offer this new type of product. The penetration of screens equipped with 3D technology with respect to the overall number of digital screens has continued to increase: it was 54.4 percent in June 2009 and reached as high as 68.8 percent in December. In several countries in Central and Eastern Europe and the Mediterranean Rim such as Cyprus Croatia Lithuania Latvia Malta Serbia Slovenia and Slovakia where the numbers of digital cinemas are still modest 3D screens represent almost 100 percent of total digital screens. In fact the percentage penetration of 3D digital screens compared to the total number of digital screens is over 80 percent in many countries such as Russia Turkey the Czech Republic Denmark Italy Hungary Finland the Netherlands Switzerland Spain and Poland. The percentage is however lower in the United Kingdom where it amounts to 70.8 percent in Germany (62.3 percent) and in France (52.8 percent). ,1737
Hannover House Releases Racing Dreams Nationwide,2010-05-29, Partnering with Screenvision Hannover House the entertainment distribution division of Target Development Group last month released Racing Dreams an award-winning documentary that offers a poignant look into the lives of two boys and a girl who dream of one day racing in NASCAR. Screenvision digitally distributed the film to theatres owned by Rave Motion Pictures and Malco Theatres in Tennessee Arkansas Michigan Texas Alabama and Florida. Wider distribution is planned subsequently.  Additionally Screenvision offered marketing support for the film through its pre-show programming and other in-theatre assets. Racing Dreams marked the second time that Screenvision has been involved in a film’s theatrical release and the initiative serves as a further extension of the partnership between Screenvision and NASCAR.
   “Screenvision is committed to expanding the alternative programming offerings we bring to exhibitor partners and theatergoers alike ” says Darryl Schaffer executive vice president exhibitor relations for Screenvision. “We are excited to partner with Hannover House to release Racing Dreams and believe our extensive digital network will allow the film to be delivered to more theatre locations in a cost-effective way.” 
 Academy Award-nominated documentary filmmaker Marshall Curry takes us into the lives of Annabeth Josh and Brandon as they compete for the championship in the World Karting Association’s National Series – widely considered the Little League for professional racing. Clocking speeds of up to 70 mph these young drivers race their way through the year long National Series that spawned many of NASCAR’s top drivers all while they simultaneously navigate the treacherous road between childhood and young adulthood.  
 The film which won the Best Documentary Award at the 2009 Tribeca Film Festival and went on to win Best Documentary Awards at the 2010 Indianapolis International Film Festival and the Jacksonville Film Festival also took home the Silver Hugo Award at the 2010 Chicago Film Festival. Racing Dreams was executive produced by Jack Turner Dany Garcia and actor Dwayne Johnson.
 Screenvision ,1739
Landmark Cinemas Adds Christie 4K in Six Canadian Locations,2010-05-29,Landmark Cinemas has selected Christie Solaria Series 4K-ready digital cinema projectors for installation in six multiplexes across Western Canada.  Landmark Cinemas is Canada’s largest regional movie exhibition circuit headquartered in Calgary Alberta.  Privately owned and operated since 1965 Landmark Cinemas currently operates 31 cinema complexes with a combined total of 108 screens in 27 locations throughout western Canada and the Yukon. The partners that make up the ownership group have strong roots to film exhibition. “Every Landmark Cinemas theatre offers its customers the very best in entertainment value. We strive to make the theatre-going experience the best possible ” says Neil Campbell COO and partner Landmark Cinemas of Canada. “3D has become an enormous game changer that has revived the exhibition industry. Now with the additional Christie projectors we can maximize our 8- and 10-screen complexes by doubling up our 3D presentations.” Campbell noted that he has been working with Christie for nearly three years and the relationship has grown every year. “We consider Christie our partner and part of our family.  Landmark Cinemas selected Christie based on the quality of its products and the dedication of the Christie team. The key to purchasing the Christie Solaria Series for our 3D presentations was the fact that they are 4K-ready.  In addition they offer the best options in the industry at the lowest cost of ownership. Christie has proven to us that they can deliver whatever we need when we need it ” Campbell says. Preparing for the future Landmark Cinemas has plans for three new multiplexes to be built in Western Canada in 2011. “These new theatres will be 100 percent digital and 100 percent Christie digital projectors ” Campbell says. King Cinema Services a division of Landmark Cinemas installed the Christie CP2220 and Christie CP2230 projectors. They also recently installed Christie LW400 digital projectors for on-screen advertising. “For the pre-show world we always use Christie projectors ” Campbell says. “Landmark Cinemas has its finger on the pulse of the exhibition industry. They are constantly exploring new ways to service the communities in which they are located ” says Dave Muscat senior director of sales Christie Digital Systems Canada.  “As digital deployment moves across Canada Christie continues to support the vibrant independent sector with the widest choice in 3D projection solutions image brightness and resolution while also delivering the highest return on investment.” Christie Digital Systems ,1741
Screenvision and Muvico Expand their Relationship,2010-05-29, Screenvision and Muvico Theatres have expanded their relationship through a new long-term agreement. Through the deal Screenvision will continue to serve as the preshow provider and hold the exclusive on-screen preshow selling rights for all Muvico locations. Additionally Screenvision has been granted the right to sell in-theatre promotions to all Muvico locations.  
 The deal with Muvico further solidifies Screenvision’s presence in several top DMAs. Muvico currently owns and operates nine megaplex locations representing a total of 149 screens. The Muvico circuit spans the key DMAs of Los Angeles Chicago Tampa Miami and West Palm Beach.
 “Muvico is yet another marquee exhibitor turning to Screenvision for our ability to provide advertising technology and entertainment solutions that add value to exhibitors across the country ” says Darryl Schaffer executive vice president exhibitor relations Screenvision. “Muvico Theatres joins an industry-leading group of exhibitor partners including Harkins Theatres Malco Theatres Marcus Theatres Paragon Theatres Rave Motion Pictures and Studio Movie Grill all who have recently signed seven to ten year contracts with Screenvision.” 
 Hal Cleveland president and CEO Muvico Theatres says “The superior quality and content of Screenvision’s digital preshow along with its reputation as a leader in technology and service within the cinema advertising community have made Screenvision a natural partner for Muvico and one we look forward to working with for the next several years.  We are confident that this new deal will continue to lead to a more rewarding experience for our moviegoers.” Muvico Screenvision ,1742
SD&A Calls for Papers for its Annual Conference,2010-05-29,The Stereoscopic Displays and Applications Association is calling for papers for its annual conference which will be held January 23-27 2011 at the Hyatt Regency San Francisco Airport Hotel just south of San Francisco California. Twenty-two other imaging conferences including three other 3D conferences share the symposium providing good synergy across the imaging community. The associations says it is looking for papers that describe recent results in stereoscopic display applications technologies systems cinema imaging human factors user interfaces or standards. Abstracts of 500 words are due by June 28. Final papers will be needed by December 13. This year the authors of the best papers will be invited to submit an updated and revised version of their paper for a special section of the Journal of Electronic Imaging to appear in 2012. The full call for papers and submission instructions can be found at ,1743
XDC Begins to Implement €100 Million Credit Facility,2010-05-29,XDC has begun implementing a €100 million credit facility to finance the rollout of digital cinema in Europe. “Finally this is the tangible result of 18 months of intensive cooperation between XDC the three banks and six major Hollywood studios ” says Serge Plasch XDC’s CEO. “With this loan we will now in practical terms be able to finance more than 2 000 screens across Europe.” BNP Paribas Fortis structured the loan which consists of two tranches of €50 million with the participation of the European Investment Bank and KBC Bank. XDC has fulfilled all the conditions required and executed the first drawdown of this loan facility last month. The first tranche will be used initially for the rollout of digital systems at Belgian exhibitors. It will then be used for several digital installations already planned for the next few weeks in other countries such as Germany Spain Poland Hungary Czech Republic and Slovakia.  This loan is the first important project finance deal in the European digital cinema industry.  It is largely covered by insurance provided by the Belgian Export Credit Agency for 22 European countries. ,1744
Filmworkers Creates Budweiser Commercial from Still Photo,2010-05-29,Starting with just a still photograph Filmworkers built a world-class soccer stadium and filled it with more than 30 000 screaming fans for a new Budweiser spot promoting parent company Anheuser-Busch InBev's global sponsorship of the World Cup in South Africa. The soccer scenes that open the spot are meant to suggest a final World Cup match but neither the stadium nor the fans are real. Filmworkers visual effects artist Rob Churchill modified the panoramic still photograph of an empty stadium onto the interior of a sphere and then filled it with tens of thousands of digital spectators produced with the company’s proprietary crowd simulation software. Conceived by DDB Chicago Swap shows Brazilian and Paraguayan soccer players exchanging jerseys at the end of a match. People in the stands do likewise; scenes of other people exchanging everything from dogs to toupees follow this. A guy in a bar is disappointed when a girl swaps her cocktail for his Bud—until a bartender hands him a fresh brew. Churchill placed live action shots of the soccer players inside the stadium and added artificial camera moves to create both wide angle and close-up shots. “By creating a 360-degree environment I could make the camera look anywhere—up down backwards or to the side ” Churchill says. “There’s a walk on shot of the field that looks as though it was shot with a Steadicam.” Churchill added a lot of subtle touches to make the scene appear real. He “turned on” lights on the field in the stands and in tunnels; created signage including several Budweiser billboards and painted chalk lines on the grass. He also roughed up the field to make it look played on and even applied dirt to the players’ jerseys. The crowd simulation is also enormously complex. Filmworkers’ CGI team individually adorned the digital characters in the colors of the Brazilian and Paraguayan teams. They also introduced individualized behavior to the figures in the crowd making them stand sit cheer and wave flags. The spot is currently airing in Europe. ,1745
Entertainment Distribution Releases Sea Rex 3D,2010-06-14,Entertainment Distribution’s Sea Rex 3D: Journey to a Prehistoric World has opened at select Imax 3D Theatres. The film will roll out at domestic and international Imax Theatres in both 2D and 3D throughout the year. European production houses N3D Land Productions and Mantello Brothers Productions produced sea Rex 3D which was four years in the making and cost five million dollars. The movie will roll out at domestic and international Imax Theatres throughout the year. It will open in Singapore in November and in Europe in 2011. In addition Luxor Group and Sarai Inc. have acquired the films rights respectively for Russia and Japan. The movie sheds light on the extraordinary ancient underwater universe and its larger-than-life creatures which with their daunting size and natural ability for predation were ruling the seas 20 million years before dinosaurs roamed the earth. Sea Rex 3D is truly the ultimate combination of science and entertainment say Pascal Vuong and Ronan Chapalain the film’s co-writers and co-directors. We are thrilled to immerse moviegoers in an absolutely unique 3D film experience which goes beyond the traditional Imax documentary thanks to an original story-driven screenplay state-of-the-art CGI sequences historical re-enactments and top paleontologists who virtually bring science to life!” It’s the perfect addition to our highly successful live-action underwater trilogy which has grossed $75 million to date at the box office says Francois Mantello chairman & CEO of 3D Entertainment Distribution. Marine reptiles are just as remarkable and captivating as their terrestrial counterparts the dinosaurs. We are very excited to share this awe-inspiring adventure with audiences who will get to see some of the most astonishing creatures of all time glide right off the screen. The incredible quality of its visual effects in 3D in ultra-photorealistic scenes makes this film utterly stunning. 3D Entertainment N3D Land Productions Sea Rex 3D