The Entertainment Technology Center at USC has announced that LG Electronics has joined ETC as an Anytime/Anywhere Content Lab sponsor. The AACL will showcase a wide spectrum of products services and technologies in action. The lab will use these tools to examine the technological and sociological implications of providing content to consumers who desire it at anytime on any device and anywhere they happen to be. As a member of the Technical Advisory Board LG Electronics will help ETC identify emerging trends and structure technology projects related to emerging paradigms in content production distribution and consumption. ETC’s Anytime/Anywhere Content Lab focuses on understanding what consumers want and bringing companies together to develop solutions that ensure that consumers get what they want. LG Electronics as a global leader in the development of innovative consumer electronics and digital lifestyle products will help ETC in this process to the benefit of both the consumer and the other sponsors involved. Topics discussed in the lab include understanding leading-edge consumer behavior with entertainment content and services and exploring how to: improve the quality of content improve the ability to find and use content improve the value of content and increase the efficiency of production and distribution. This information is valuable to LG Electronics in the company’s effort to invent entirely new concepts that enhance tomorrow’s digital lifestyle. “We are excited to be active participants in the Anytime Anywhere Content Lab which allows us to better understand and deliver more consumer-friendly and higher value products and services for our customers says Nandhu Nandhakumar senior vice president advanced technology for LG Electronics. “Sharing information is invaluable ” says ETC executive director David Wertheimer. “LG brings with it great products and innovative experience. Together we are helping build the anytime/anywhere technologies of the future.” ETC www.etcenter.org LG Electronics www.lgusa.com ,124
NATO Releases Digital Cinema System Requirements v2.0,2008-05-21,The National Association of Theatre Owners (NATO) has issued a revised Digital Cinema System Requirements document (version 2.0). The requirements are a product of a group of committed NATO member company volunteers working in conjunction with NATO's digital cinema consultant Michael Karagosian. The first revision to the now two-year-old NATO Digital Cinema System Requirements version 2.0 is targeted to standards committees product manufacturers and service providers in the digital cinema supply chain.NATO's System Requirements provides important direction for areas not covered in the DCI (Digital Cinema Initiative) spec. ,138
New Filmmakers Showcase,2008-05-21,The New Filmmakers Showcase offers a look at some of the latest movies made by filmmakers from around the world. Visit http://www.swonders.com/ Filmmakers/ to check it out. ,139
Reach for Me First All-4K Movie Screened in Los Angeles,2008-06-11,Reach for Me the first feature-length motion picture to be shot and produced entirely in 4K was screened last month at Landmark Theatre's flagship theatre The Landmark in Los Angeles' Westside Pavilion. Directed by Levar Burton and produced by AMediaVision Productions the movie was captured using Dalsa's Origin 4K cinematography camera with 4K image processing and digital intermediate managed by Post Logic. It was screened at The Landmark on Sony's 4K Sony's SRX-R220 digital cinema projection system. This screening is a perfect example of the practical reality that 4K technology has become says Andrew Stucker director industry relations for Sony Electronics' digital cinema division. From end to end movie-goers will be able to immerse themselves in the incredible experience that 4K resolution can provide. The picture's producer Mark Wolfe says that having a complete end to end 4K workflow gave us all the creative and time advantages of digital moviemaking all the while maintaining the beautifully rich look of traditional film production without adding any additional cost to the production process. According to Rob Hummel president of Dalsa Digital Cinema the production of Reach for Me clearly demonstrates that 4K technology is the future of digital cinema. 4K projection technology empowers the digital cinema pipeline to display images equal to the most pristine film answer print he says. So whether the image is a 4K scanned 35mm film or photographed with a Dalsa camera 4K projection ensures the audience will see an image without compromise and that every seat in the house gets a spectacular picture. Dalsa's Origin with a CODEX digital disk recorder was used during production and all data was archived to LTO 3 tape. Post Logic used a Baselight 8 system during the digital intermediate process. Having assembled a top talent and engineering team Post Logic is well equipped to handle the increased bandwidth and file processing demands of a 4K DI says Larry Birstock at Post Logic. A true end-to-end 4K workflow is now a viable alternative for movie makers. Reach for Me is produced by Charlene Blaine-Schulenburg Susan R. Rodgers and Wolfe. The movie stars Oscar nominees Seymour Cassel and Alfre Woodard as well as Johnny Whitworth (3:10 to Yuma) Lacey Chabert (Mean Girls Party of Five) and Adrienne Barbeau (The Fog Escape from New York). The worldwide rights for Reach for Me are currently available. ,146
Report Looks at Film and TV Distribution and the Internet in Europe,2008-06-11,A new report available now offers insights into the ways in which the Internet is changing the marketing and delivering of television and film content in Europe. This companion volume to Andrew Sparrows Music Distribution and the Internet: A Legal Guide for the Music Business focuses on the practical application of UK and EU law as it applies to the distribution of television and film through the Internet. This includes terms of contract and copyright as they affect studios broadcasters sales agents distributors Internet service providers film financiers and online film retailers; as well as areas such as the licensing of rights. It also covers the commercial aspects of delivering film and television services to a customer base including engaging with new content platforms strategic agreements with content aggregators protecting and exploiting intellectual property rights data and consumer protection and payment online marketing and advertising. Report Index: The impact of the internet on film and television distribution Online contracts for the sale of film titles and merchandise Website Terms and Conditions for the supply of film DVDs and other movie merchandise over the internet The Electronic Commerce (EC Directive) Regulations 2002 Protecting and exploiting intellectual property rights in online film and television content The marketing of film titles and merchandise online Collecting online data about film buying audiences The Distance Selling Regulations and online film title and merchandise sales Paying for film downloads Engaging with new content platforms Strategic agreements between the online film company and content aggregators Online advertising and promotion of film and television titles and merchandise Electronic signatures and online film sales Disability discrimination issues for film websites Whose law applies to film sales over the internet The Audiovisual Services Directive Research and Markets www.researchandmarkets.com ,148
Band Pro East Office Opens in New York City’s Chelsea Neighborhood ,2008-06-11,Band Pro Film & Digital has opened Band Pro East a new branch office dedicated to servicing the needs of production industry professionals in the Northeast Southeast and eastern states. Located at 645 W. 27th Street Band Pro East is headquartered in the heart of New York’s Chelsea district. The new location will include a spacious showroom. Band Pro offers the full line of Sony Professional Broadcast and Cine Alta product lines such as the F23 and PMW-EX1 cameras in addition to other digital cinematography equipment including the Codex Portable Digital Recorder Carl Zeiss DigiPrime and DigiZoom lenses and more. At the helm of Band Pro East is managing director Jim Hegadorn who says “Band Pro's move to the East Coast is now complete with the opening of our office here. We are proud of what we have accomplished in New York this past year. We will continue to expand our commitment to the New York City production environment as well as to the eastern half of the United States with technical expertise and support of our extensive line of high-end digital cinematography products.” Band Pro’s technical experts Jeff Cree Michael Bravin and Randy Wedick are available 24/7 for phone support and will frequently be on hand in person to answer one-on-one questions and lead group seminars.Band Pro Film & Digital www.bandpro.com,151
Technicolor Adds Four 2K Processors for HD Encoding Work,2008-06-11,Los Angeles-based Technicolor Creative Services has purchased four Digital Vision DVNR 2K image processing systems for use in high-definition DVD compression and authoring work. The systems equipped with AGR4 ME and ALS options enable Technicolor to manage film grain and video noise and correct for the artifacts that often occurs when encoding images for high-resolution formats such as Blu-Ray. The new systems are installed in Technicolor’s Burbank DVD facility. They’re being used to pre-process images for new titles that Technicolor’s clients release in HD and to enhance images in existing titles for re-release in higher-resolution formats. Chuck Null vice president of technology for Technicolor DVD says “We’ve worked with DVNR systems for years and with the DVNR 2K we can now offer image processing services in the HD realm. What’s great about the DVNR is the tie-in to time code from the video source. We can frame accurately go through and make enhancements to the video. With some systems you just blanket the entire film. The DVNR has applications that are individually controllable – aperture noise reduction filtering – and we use all of those together. Our team has experience with the DVNR and deep understanding of image processing. It’s more of an art than a mechanical process.” Digital Vision president and COO Simon Cuff says “Directors cinematographers colorists and digital artists work hard to develop create and maintain the look of their films and shows. When the production gets distributed it has to be encoded and that is where the hard work can get undone. We’ve developed the DVNR 2K to ensure that real time automatic pre-processing can preserve and even enhance the viewing experience and ensure that the creative intent is delivered to the audience without compromise.” ,154
DTS Digital Cinema Acquired by Beaufort International Group,2008-06-11,Beaufort International Group has announced that it has acquired the business and assets of DTS Digital Cinema from DTS Inc. for an undisclosed sum. Beaufort made the acquisition through its US subsidiary Beaufort California. Chris Thomas Beaufort California’s CEO says “We are very pleased to have made this acquisition. DTS is an established brand in the cinema industry and provides a solid foundation for us to develop our plans in digital cinema. DTS has laid the groundwork for us with its 15-year history in providing the highest quality digital audio for film to over 30 000 screens worldwide.” Jon Kirchner president and CEO of DTS Inc. says “We have now completed the sale of the digital cinema business which allows DTS to focus entirely on building a high growth consumer business. I truly appreciate the dedication of the management team and employees who continued to build the digital cinema business throughout the sale process ultimately positioning it for future success under Beaufort's ownership.” Beaufort International Group is majority-owned by Datasat Communications a UK-based satellite services provider. Datasat’s managing director Phil Emmel says “We decided to invest in the DTS Digital Cinema business because the company is one of the few golden brands that is established within the production and distribution and exhibition marketplaces. It is our vision that we can build a significant presence as a provider of products and services to the digital cinema industry. We want to work with all of the stakeholders to make their lives easier in the transition to D-Cinema and also to provide unparalleled levels of service to everyone working with media content. It is a natural extension of our existing managed service business in which we routinely deliver data and media content over secure networks.” DTS Digital Cinema www.dtsdcinema.com Datasat Communications www.datasat.com ,155
Lionsgate Signs Long-Term Digital Cinema Deal with AccessIT,2008-06-11,Lionsgate has signed an agreement to provide its movies in the digital cinema equipped theatres in AccessIT’s Phase 1 digital cinema program. Under the terms of the deal Lionsgate will pay virtual print fees under a long-term agreement similar to those signed by all the other major studios. Lionsgate is already a long-time customer of AccessIT’s Software Division employing its industry-leading Theatrical Distribution System (TDS) which enables theatre bookings for screens in the U.S. and Canada. AccessIT and Lionsgate have begun negotiations on a Phase 2 agreement. Since October of 2006 Lionsgate has provided such movies as “The Forbidden Kingdom ” “Rambo ” “3:10 to Yuma ” and the “Saw” franchise to AccessIT’s Phase 1 network of exhibitors and paid VPFs. This agreement serves to formalize the distributor’s intent to supply movies in the future and to pay VPFs according to a set schedule. “Having worked with AccessIT on both the software side and the digital cinema side we are very pleased to formalize our commitment for their Phase 1 customers ” said Steve Rothenberg President of Domestic Distribution at Lionsgate. “Our experiences with them to date have been extremely positive and we are confident that their highly professional teams will continue to provide an excellent level of service. We look forward to finalizing our agreement with them for their Phase 2 deployment customers as well.” “Lionsgate has been a strong proponent of digital cinema having released 23 digital titles starting back in October 2006 with ‘Employee of the Month’ ” said Chuck Goldwater President of AccessIT’s Media Service Division. “With a full schedule of movies right up there with the other major studios we look forward to more digital releases from Lionsgate to continue to support exhibitors’ digital cinema installations and the industry demand for more digital screens. We are proud to build upon our long relationship with Steve Rothenberg Mike Polydoros and the entire Lionsgate team.” AccessIT www.accessitx.com Lionsgate www.lionsgate.com ,156
Starz Entertainment Releases Multiple Versions of Hannah Montana Concert,2008-07-23,Starz Entertainment Releases Multiple Versions of Hannah Montana Concert Will audiences ever get their fill of “Hannah Montana” and star Miley Cyrus? Starz Entertainment offered them a full plate of choices – including 3D – of the Hannah Montana/Miley Cyrus: Best of Both Worlds Concert.Starz subscribers had full access to the “Hannah Montana” concert experience beginning July 26 when Hannah Montana/Miley Cyrus: Best of Both Worlds Concert began airing on Starz and on-demand pre-dating the expected August 19 2008 street date for the home video release of the concert film.Hannah Montana/Miley Cyrus: Best of Both Worlds Concert debuted in 2D and HD on Starz on Saturday July 26th. Starz On Demand and Starz HD On Demand began offering the concert film in 3D SD and HD on July 27. “The ‘Hannah Montana’ phenomenon has such a loyal and passionate fan base that this concert film offers us a valuable platform for showcasing all of the great things we have going on at Starz – offering all versions including HD 3D and on-demand ” says Jonathan Shair vice president network group Starz Entertainment. “This concert and all of the novel aspects behind its multiple forms of exhibition on Starz further strengthens our family-friendly summer programming lineup including Ratatouille Spider-Man TM 3 Enchanted and Surf’s Up.” Viewers could log on to the Starz website for for a step-by-step guide on how to make their own 3D glasses at home. Starz www.starz.com AttachmentSize starznews132main.jpg71.53 KB ,175
Disney Hopes to Tap into Blu-ray’s Interactive Technology,2008-07-23,Disney Hopes to Tap into Blu-ray’s Interactive Technology And in other Disney-related news the company and the broader entertainment industry is hoping that Sleeping Beauty will help awaken interest in Blu-ray DVDs. According to an article in the New York Times in October Disney will release a 50th anniversary edition of the classic animated movie in the high-definition Blu-ray format. But Disney is not stopping there. Sleeping Beauty will also come with unusual features geared toward a generation of viewers that embraces interactivity and social networking the Times reported. According to the article viewers can watch the movie in tandem with friends in other locations and chat using a laptop P.D.A. or cellphone. (Comments appear on the screen.) Parents who are not able to watch the film with their children can record a video message that will pop up during a designated scene as the child watches. Viewers will also be able to compete against others around the world at trivia. All of these activities are possible because of a technology that connects Blu-ray discs with the Internet which the entertainment industry is calling BD Live. Disney and other studios including Lionsgate and of course Sony believe that BD Live could be Blu-ray’s killer app potentially altering the tepid response that consumers have given Blu-ray to date. “Our research shows that so many people watch TV with their laptop nearby ” Lori MacPherson senior vice president and general manager for Walt Disney Studios Home Entertainment North America told the Times. “Online gaming and texting are already popular. The question is how do we harness this?” According to the Times story hardware is a giant hurdle. First-generation Blu-ray players are not compatible with BD Live and cannot be upgraded. Although Sony’s PlayStation 3 can use the technology there is currently only one BD Live Blu-ray machine — Panasonic’s DMP-BD50K model — and it costs about $800. Several new BD Live-enabled machines are scheduled to arrive in stores by fall but they will still be out of reach for many. The new Blu-ray players will sell for as little as $400. Another challenge will be to educate the public about the possibilities. “We need to demystify this technology for the mass market ” Bob Chapek president of Disney’s home entertainment unit told the Times. All of this is taking place in the context of the first year that domestic DVD sales declined. Disney is upbeat about the prospects. “The idea of my little girl being able to experience a movie and chat in real time with her grandparents across the country is very exciting to me ” Chapek said at a recent BD Live demonstration in Los Angeles. “I can’t help but think it will be exciting to a lot of consumers too.” AttachmentSize disneynews132main.jpg72.28 KB ,176
Dart Upgrades Digital Intermediates Capabilities,2008-07-23, Central American production company and post facility Dart has selected SpeedGrade XR to drive their digital intermediates finishing pipeline. We looked at several competing products says Vinicio Musmanni CEO of Dart. They could have done what SpeedGrade does but in each case they would have required more steps. SpeedGrade XR matches our workflow perfectly. This is also true for stereoscopic work. The facility recently shot stereo footage in Panama for an international production which will allow them to take advantage of the DualStream stereo technology included with SpeedGrade XR. Along with the benefits of working with RAW SpeedGrade XR makes use of the SpeedGrade OnSet integration in the Silicon Imaging camera. Looks created or applied in-camera during shooting are saved as metadata along with the image files and can be loaded non-destructively in SpeedGrade XR. This is a great help for our colorists says Aaron Montoya technology supervisor at Dart. Even though we often do end-to-end productions in-house it is so much easier to show a look than to try to explain it in words. Founded in 1998 Dart has established itself as a leading facility in Central America. The company does everything from production through post VFX DI sound and even DVD authoring. An early convert to digital technologies Dart has a reputation for technical expertise. We are recognized for using state-of-the-art technology says Ana Lil Mora COO of Dart That is important but our real strength is the skill of our artists. They are the secret of our success. We're delighted to be joining the team at Dart says Steve Crouch director of Iridas USA. They've been doing excellent work for years now and SpeedGrade XR will only add to their capabilities. Dart is currently working on an animated version of a Bollywood comedy. Iridas www.iridas.com ,177
Okada Named to Third Term as ASC President,2008-07-23, Daryn Okada has been chosen by to serve a third one-year term as president of the American Society of Cinematographers. The other officers are vice presidents Michael Goi Owen Roizman and Richard Crudo; treasurer Victor J. Kemper; secretary Isidore Mankofsky; and sergeant at arms John Hora. The board members include Curtis Clark Caleb Deschanel John C. Flinn III William A. Fraker Stephen Lighthill Robert Primes Nancy Schreiber Dante Spinotti and Kees Van Oostrum. “It still amazes me that 15 cinematographers met 90 years ago in Hollywood to organize the ASC as a forum where they could discuss ideas and advocate progress in the art and craft of visual storytelling ” says Okada. “The motion picture industry was still in its infancy and this was the first organization of its type in the world. Our members have been true to that heritage by exploring and sharing the creative utilization of new technologies for the advancement of cinematography. I feel privileged to be a part of this extraordinary group of dedicated filmmakers.” ASC membership is by invitation based upon the individual’s body of work. In 1934 the organization created an associate membership category for individuals in other sectors of the motion picture industry who have made notable contributions to advancing the art and craft of cinematography. Okada was 21 years old when he earned his first narrative film credit as a cinematographer for Nomad Riders in 1981. A short list of his subsequent credits includes Anna Karenina Lake Placid My Father the Hero Dr. Doolittle 2 Cradle 2 The Grave Mean Girls Stick It Just Like Heaven Baby Mama and Harold & Kumar Escape from Guantanamo Bay. The latter two films opened first and second at the box-office on the same weekend earlier this year. The Goods: The Don Ready Story and Ghosts of Girlfriends Past will be released later this year. “We are looking forward to a banner year ” Okada says. “ASC has broken ground for the renovation of our historic Hollywood clubhouse where our members and friends have met for 70 years. It contains a treasure trove of early film history and is a constant reminder of our mission. We are indebted to those who preceded us and we have an obligation to the next generation of filmmakers who will follow us.” ASC www.theasc.com ,178
Indigo Son Vital Distraction in production on Seven Masters,2008-07-23, Indigo Son Productions has started production on the full-length animated film Seven Masters. This film will be the first in a series Indigo Son will produce in a partnership with Vital Distraction provider of 3D graphics for film television and music videos. Distribution rights were secured by Universal /Vivendi and release is anticipated in Q2 2010. Michael “Mickey” Shapiro Indigo Son president and former manager and lawyer for Fleetwood Mac Steely Dan The Kinks and other music heavyweights says it is the storyline of the Seven Masters series that will entice both children and adults alike. “Reading this script was like hearing a top ten hit for the first time ” says Shapiro. Seven Masters weaves compelling storytelling into a format that is fresh and evocative. The story consists of plenty of action and the classic struggle between Light and Dark that appeals to the younger audience. It also contains sophisticated storylines that explore the evolution and inner complexities of the characters along their journey. This original story was created by Nina Linh who co-wrote the script with Mike Smith. “The story has been described as Star Wars meets Lord of the Rings ” says Linh “but we also had a concept of exactly how the story should be told. The look and the feel were equally as important as the story itself.” Shapiro says the partnership with Vital Distraction had a lot to do with that vision. “We believe that this company is the best choice to realize our dream ” he says. “These guys are really at the top of their craft.” Michael Moore general managing partner for Vital Distraction shares Linh’s vision. “They wanted to bring the style and feel of anime yet utilize 3D to sharpen it up…very unique approach ” says Moore. “They are definitely going for a style not really seen before. The story line is incredible and the look and feel will complement that story”. Shapiro Linh Smith and Vital Distraction together will produce Seven Masters. Moore also notes this will be a big step for the software program Vital Distraction utilizes. “This will be the first animated film to be created entirely in Cinema 4D ” says Moore. “Vital Distraction has always tried to stay on the forefront of bringing this software into mainstream Hollywood and this will be a huge leap forward in that endeavor. Cinema may finally get the recognition it deserves.” Vital partner Chris Villa adds that they are currently seeking cinema artists that would like to be involved in this project. Vital Distraction www.vitaldistraction.com ,179
Jock Animation Uses Sledgehammer on Animated Feature ,2008-07-23, Johannesburg South Africa-based Jock Animation selected a Sledgehammer network attached storage system to support their work on a full-length animated feature film currently in production. While Jock Animation first began work on the animated feature using a makeshift NAS it quickly became apparent that the storage device was not up to the challenge of this demanding project because rendering jobs took an inordinate amount of time and brought network traffic between the NAS and render farm to a crawl. Jock animators were prone to extended periods of “hibernation” during rendering sessions as access to the shared storage almost came to a halt. Since installing Maximum Throughput’s Sledgehammer NAS Jock’s animators say they are thrilled with the increase in performance and productivity. “The pipeline is now working effectively ” says Martin Heigan technical supervisor for Jock Animation. “The Sledgehammer has eliminated long periods of waiting. We’re impressed with how this NAS intelligently manages the available bandwidth on our network.” The Sledgehammer NAS was specifically designed to support access to heavy data loads by multiple clients on a network and to handle network-heavy operations without performance degradation. “The performance is great. With Sledgehammer our workflow has improved by about 70 percent ” says Braam Smit Jock’s IT manager. “We used to wait three to five minutes for a heavy scene to open. Now it opens in under a minute.” After comparing Sledgehammer to other NAS systems on the market Jock Animation determined that the price was particularly attractive in light of the system’s six TBs of storage features and performance and believed strongly that their increased productivity would lead to a more rapid return on investment. Jock’s Heigan says “Sledgehammer gives us exactly what we need: fast transfer speeds a large storage capacity and a powerful solution that’s easy to manage.” The Sledgehammer sale and installation has been worked out in conjunction with Touchvision Maximum Throughput’s premier reseller and partner in South Africa. Jock Animation www.jock-animation.com Maximum Throughput www.max-t.com Touchvision www.touchvision.co.za ,180
DPI Continues Expansion with New Southern China Office,2008-07-23, Digital Projection International has expanded operations in China by opening a new office in the southern city of Guangzhou. Under the direction of Bruce Xiong manager of DP China Digital Projection now has widespread distribution throughout China by way of three regional offices: Beijing in the north Shanghai in the central region and Guangzhou in the south. The Guangzhou office headed by Leo Lee is the third DP office to open this year and plans for further expansion are well in place for the second half of 2008. The new Guangzhou office team members attended extensive product education and support training at Digital Projection’s headquarters in Manchester England before the office launch. This training was then followed by six weeks of additional engineer instruction to ensure the southern office could operate as a complete resource to the local market. Nicholas Cottiss international sales and marketing director of Digital Projection International says “Thanks to both our award-winning product line and focused Asian managerial team Digital Projection’s operational expansion into China continues at a rapid pace. Earlier this year we ran a number of road show events in the North and South of the country with audiences exceeding 3000 people. An overwhelming amount of feedback intimated a significant amount of interest in both existing and future technologies and platforms. Opening our three DP China offices has been a fundamental step in supporting this widespread interest and the application opportunities that are materializing daily.” ,181
XDC Adds Sony Universal Digital Cinema Deployment List,2008-07-23, XDC has signed non-exclusive agreements with Sony Pictures and Universal and is now the first deploying entity to sign with six major U.S. distributors for the deployment of up to 8 000 DCI-compliant digital cinema installations across Europe. Sony Pictures Releasing International and Universal City Studios will support XDC acting as a deploying entity to roll out DCI-compliant digital cinema systems for theatrical presentations in several countries in Europe. Under the terms of the agreements Sony Pictures and Universal have independently and non-exclusively agreed to supply European exhibitors with their feature films in digital form for projection on DCI-compliant digital cinema screens as well as to make financial contributions in order to promote DCI-compliant digital cinema projection systems. These agreements together with those signed with Warner Brothers Paramount Pictures Twentieth Century Fox and The Walt Disney Studios are a major milestone in Europe and for XDC in particular. The company is now the first one to offer a full Hollywood slate and will work with the European Distributors. Serge Plasch XDC’s chief executive officer says “These agreements with Sony Pictures and Universal together with the ones signed with the other studios mark and ease the beginning of the large scale deployment of digital cinema in Europe. For XDC the next steps are the negotiation of similar agreements with European movie distributors the sale of this co-financing proposal to cinema exhibitors across Europe and last but not least both equity and debt raising to fund the digital roll-out phase. This infrastructure deployment will also help XDC to develop its other activities: first the design and sale of cinema advanced solutions; secondly the installation and maintenance of complete digital cinema systems for exhibitors; and thirdly digital content processing and distribution services for movie distributors and advertising sales houses.” XDC www.xdcinema.com ,182
Sensio and International Sign 3D Licensing Agreement,2008-08-01, Sensio has signed a licensing agreement with International Datacasting Corporation for the integration of the Sensio 3D cinema decoding technology into products for the digital cinema market. This agreement comes with the first sale of licenses for an initial deployment of 3D systems for 50 movie theatres to enable the broadcasting of live stereoscopic 3D events. “We are extremely pleased of this agreement with IDC and this initial order ” says Nicholas Routhier president and CEO of Sensio. “It is a major milestone in our live 3D development efforts and it secures our position as the industry leader in 3D content distribution. IDC is a recognized world leader in the broadband delivery networks needed for this application and they have the manufacturing and international distribution we need to be successful. Sensio has now reached a key phase in its development strategy which not only allows us to generate more licensing revenues from our technology but also improves our content offer for the consumer market.” “We are also delighted with this agreement ” says Ron Clifton president and CEO of IDC. “It builds on the excellent working relationship we have developed with Sensio over the past year of working together strategically and significantly expands our product portfolio and addressable market potential. The Sensio 3D technology is becoming the de facto standard in the digital cinema industry for the distribution and display of alternative content which is quickly becoming recognized as a new revenue source and business opportunity in the industry.” Sensio and IDC previously announced the launch of CineLive an exclusive product developed specifically for Access Integrated Technologies in the United States. International Datacasting Corporation www.datacast.com Sensio www.sensio.tv ,210
Real Digital Media Announces On-Demand Feature for Neocast,2008-08-01, Real Digital Media has announced a new on-demand feature for its Neocast digital signage platform. Using a simple remote control device with a tiny receiver connected via USB Neocast clients are now able to instantly suspend a running play list jump to a menu screen scroll up and down to select a desired menu item and have that selected item start playing instantaneously. While the selected media is playing the remote operates like a DVR controller allowing the user to pause forward and rewind to sections or return to the main menu to choose additional content or return to regular programming. The content for the on-demand feature can be pre-populated across a network group of players or individual players using the centralized Neocast Media Server software. This interactive application has obvious benefits for training corporate communications on-floor sales presentations and internal messaging says Michael Baron president of Real Digital Media. CEOs can have key messages presented to assembled staff at designated times special promotions and merchandising strategies can be introduced on the retail floor to educate and train sales representatives and service providers can receive continuing education training at their offices. The options for the feature are limitless and add another layer of flexibility and usability to our Neocast digital signage platform. The first client to use this feature will be Creative Marketing and Merchandising Media Solutions network operator for the NobelVision Network (an on-demand dental education and staff training solution) sponsored by Nobel Biocare (provider of esthetic and restorative dental solutions). Dentists participating in the network will leverage the on-demand feature for continuing education training which will eliminate expensive offsite training sessions and travel. Furthermore representatives for Nobel Biocare will have the option to leverage the feature to introduce new programs and products as well as train dentists during seminars right in the dental offices. Creative Marketing and Merchandising Media Solutions www.c3ms.com Real Digital Media www.realdigitalmedia.com ,211
SMPTE Forms 3D Home Display Task Force,2008-08-13,The Society of Motion Picture and Television Engineers is establishing a task force to define the parameters of a stereoscopic 3D mastering standard for content viewed in the home. Called 3D Home Display Formats Task Force the project promises to propel the 3D home entertainment industry forward by setting the stage for a standard that will enable 3D feature films and other programming to be played on all fixed devices in the home no matter the delivery channel. The inaugural meeting of the task force takes place August 19 and will be hosted by the Entertainment Technology Center at the University of Southern California near downtown Los Angeles.“Digital technologies have not only paved the way for high quality 3D in the theatres they have also opened the door to 3D in the home ” says SMPTE engineering vice president Wendy Aylsworth. “In order to take advantage of this new opportunity we need to guarantee consumers that they will be able to view the 3D content they purchase and provide them with 3D home solutions for all pocketbooks.” The 3D Home Display Formats Task Force will explore the standards that need to be set for 3D content distributed via broadcast cable satellite packaged media and the Internet and played-out on televisions computer screens and other tethered displays. After six months the committee will produce a report that defines the issues and challenges minimum standards evaluation criteria and more which will serve as a working document for SMPTE 3D standards efforts to follow. The first 3D Home Display Formats Task Force gathering will feature demonstrations of 3D technologies. All technology professionals who are considering joining the group are welcome to attend. Non-members will be asked to pay a small fee for the initial meeting and ongoing participation in the work requires membership in SMPTE. SMPTE www.smpte.orgThe Entertainment Technology Center @ USC www.etcenter.org ,213
EUE Planning “Dream Stage” in Wilmington North Carolina,2008-08-13,EUE Screen Gems Studios home of the largest studio lot east of California is building the largest film and television production stage on the east coast says Chris Cooney COO and president of EUE Screen Gems Ltd. “We’ve submitted the plans applied for permits begun preliminary clearing and ordered materials. This is the real deal it’s happening this is our dream stage.” The soundstage is part of their 50-acre facility in Wilmington North Carolina. The “Dream Stage” will be a column-free 37 500-square-foot expanse with a grid height of 45 feet and dimensions of 150 feet by 250 feet. The stage will include a 60-foot by 60-foot indoor tank with a depth of 10.5 feet. This will be one of the largest and deepest indoor production tanks in North America. “This new stage will attract larger and more technologically advanced productions to North Carolina ” says Bill Vassar executive vice president of EUE Screen Gems Studios. “The design and location of the new stage fits in with the existing studio work flow. It’s central to studio support services such as production offices shops wardrobe areas warehouses and equipment. It is in right proximity to the existing nine stages on the lot.” Completion is expected by early spring 2009. Film television and commercial production companies spent $160 215 900 in North Carolina for 2007 according to the North Carolina Film Office. The state recently hosted production of major motion pictures Leatherheads and Nights In Rodanthe and continues to be home to the CW Network’s “One Tree Hill.” The new Dream Stage is expected to further boost the state’s production activity. “In North America this is the third largest stage with one of the largest indoor production tanks. The capabilities of the new facility will make North Carolina even more attractive to producers ” says Aaron Syrett director of the North Carolina Film Office. “It exemplifies EUE Screen Gems continued commitment to the future of the film and television industry in North Carolina.” “The soundstage will be unrivaled and completely funded by the private sector ” says Johnny Griffin director of the Wilmington Regional Film Commission Inc. “This sends a message to the international film industry that EUE Screen Gems believes in Wilmington as a major production center.” EUE Screen Gems’ existing nine stages range in size from 7 200 square feet to 20 000 square feet. Stage #4 includes a tank that is 25 feet by 39 feet by four feet deep. The facility features spacious production suites with bullpen art rooms kitchen extensive offices with furnishings digital phone service as well as high speed Internet access a commissary and screening theatre with 35mm and HDTV projection ability. It also contains multiple mill metal plaster and paint shops plus wardrobe facilities with laundry as well as prop and set decorating warehouses. “The studio lot has a company managed full service lighting grip and power business. Local staff with production experience maintains the company owned stage and location equipment. They take care of it as if it were their own ” says Vassar. “In fact the more than 1 000 local production crew people take personal care of the equipment and the studio lot. It’s amazing how well it all works here.” North Carolina Film Office www.ncfilm.com,214
IndiePix Nelson Madison Films Release Skid Row,2008-08-13, IndiePix the Internet-based distributor of independent films has announced a partnership with Nelson Madison Films’ distribution arm Indie Rights Inc. The partnership coincides with the launch of the new ‘Activist’ and ‘Educational’ Editions of Skid Row – a no-holds-barred documentary featuring Pras Michael from the Fugees as he takes to the streets of downtown Los Angeles for nine days with no money or food. For the first time the film is available from IndiePix as an ‘Activist Edition’ which enables individuals and non-profit organizations to host their own screenings and also an ‘Educational Edition’ which includes teaching guides for schools and colleges. Skid Row is a five-mile radius in downtown LA which has the highest concentration of homeless people in the US. An average of 80 000 homeless men women and children sleep on Skid Row on any given night which is more than double the whole of New York’s homeless population. This eye-opening film documents the relentless work of the Midnight Mission and includes footage that Pras Michael witnessed in the homeless capital of America. Nelson Madison Films approached IndiePix to provide them with a tailor-made distribution package that would promote the film – as well as the cause behind it – in the most effective way possible. The new ‘Educational Edition’ provides material to help schools teach teenagers about issues such as poverty homelessness and drug abuse while the ‘Activist Edition’ enables private screenings across the States and includes information about what organizations people can get involved with how to learn more about the issues and how to organize and take political action. In addition to DVD and Download from IndiePix Skid Row is available to consumers for free viewing on the advertiser-supported service SnagFilms. “This film was made with the intention of raising awareness and inspiring action ” says Linda Nelson Co-Founder of Nelson Madison Films and its distribution subsidiary Indie Rights “but Skid Row and the message behind it have really been lost on the big sites such as Amazon. Skid Row is a fantastic documentary but the mainstream distribution model really wasn’t well suited to the film. IndiePix is the best distribution model on the net for independent films so we contacted them to help us revitalise the DVD and raise money and awareness for the cause.” From the beginning Nelson Madison Films committed to donating half of its revenue stream from the film to The Midnight Mission knowing that none of the profits from traditional distribution would flow to the cause. Indiepix is supportive of this mission and is also donating part of its profit. “We’re urging people to buy the DVD through IndiePix because of the financial support it provides for the Midnight Mission. Skid Row was made to highlight a very real and growing problem in the US – a problem that a lot of people sometimes choose to disregard even when it is right on their doorstep. The extra features in the ’Activist’ and ‘Educational’ Editions of Skid Row also mean that people have the resources to get involved and raise awareness and money for a problem that affects almost every city ” says Nelson. Skid Row is to be screened in Denver on August 24th during the Democratic National Convention. Pras Michael will participate in a Q&A session which will be held after the screening alongside John Parvansky the executive director of the National Coalition For the Homeless and the president of the Colorado Coalition for the Homeless. The film is available from the IndiePix website www.indiepixfilms.com/collection/the-skid-row-collection priced from $17.50. A connection to the SnagFilms presentation of this title is also available at that location. Readers can click here to see the trailer. IndiePix www.indiepixfilms.com Nelson Madison Films www.nelsonmadisonfilms.com ,215
PERA Opens National Office in New York,2008-08-13,The Production Equipment Rental Association has opened a new national office in Manhattan at 101 West 31st Street. This location will now serve as a place for meetings and consolidated communications for members. PERA has been listening to members and the industry since our member meeting at the National Association of Broadcasters convention in April says executive director John Johnston. We are acting on recommendations to rebuild the organization focus on current issues address member needs and increase the value of membership in PERA. PERA has also launched a new Web site. The site will be the primary tool for posting upcoming events member information industry links discussion forums and much more. The new site will provide more member services and information to the industry Johnston says. The home page has been improved and new features will be added as we build the site out to meet the needs of members and the industry. Production Equipment Rental Association www.peraonline.org ,216
Cinema Ad Council Names 2007 Creative Excellence Award Winners,2008-08-13,The Cinema Advertising Council has named the winners of its 2007 Creative Excellence Awards. The annual awards recognize high-quality entertaining advertising that has been showcased in movie theatres during the past year on a national regional and local basis. “With Madison Avenue's continued embrace of cinema advertising it comes as no surprise that advertisers and their agencies continue to raise the bar relative to their on-and off-screen creative ” says Stu Ballatt president and chairman of the CAC. “All of these advertisers have created terrific examples of how to leverage the high-impact break-through medium that cinema has become.” The trade association represents 82 percent of U.S. movie screens. Nominees were chosen by the CAC membership with the CAC board of directors then voting on the winning creative. Voting took place in six categories based on the following creative criteria: storyline (does the spot/clip/campaign tell an interesting story; not applicable to still image advertising) uniqueness (is the spot/clip/campaign differentiated from the other more mainstream spots and does it result in strong recall) cinematic consistency (does the spot/clip/campaign present in a manner consistent with the motion picture theatre) creative expression (is the spot/clip/campaign unique and new and a departure from the standard formula) and entertainment value (does all of the above result in a strong positive response). Advertising that appeared in the theatre environment between January 1 2007 and December 31 2007 was eligible. Following are the winners of the 2007 CAC Creative Excellence Awards: Top Regional or National Commercial Spot (ran in more than one theatre in two or more markets) – Absolut Vodka: ‘Protest’ (Creative: TBWA/Chiat/Day) Top Regional or National Long-form Advertisement – Discovery Channel: ‘Planet Earth’ (Creative: Discovery Channel) Top Integrated Cinema Advertising Campaign (coordinated on-screen and in-lobby advertising elements) – Army National Guard: ‘Citizen Soldier’ (Creative: LM&O Advertising; Media: LM&O Advertising) Top Local Commercial Spot – Arizona State Fair: ‘Cotton Candy’ (Creative: Great Scott Productions) Top Still Image Advertisement (local regional or national; slide or digital) – Pepsi-Cola Company: ‘Spider-Man 3 Cutouts Q&A’ (Creative: Tracy Locke) Top Digitally Animated Cinema Advertisement (local regional or national) – Kearney Mesa Scion: ‘Get Your Ride On’ (Creative: National CineMedia) Awards are given to the advertiser and/or the creative agency responsible for the advertisements except for the integrated campaign awards which go to the advertiser creative agency and media agency. Cinema Advertising Council www.cinemaadcouncil.org ,217
National CineMedia Promotes Biederman Hoff and Leff,2008-08-13,National CineMedia has promoted Pam Biederman Beth Hoff and Lauren Leff to the role of senior vice president. Biederman has been promoted from vice president to senior vice president central division in National CineMedia’s Chicago office where she will continue to lead the Midwest national sales team. Biederman joined Regal CineMedia (now National CineMedia) in 2002 as Midwest sales director and was elevated to vice president in 2003. Prior to joining the company Biederman opened and managed the Midwest sales offices for Screenvision in 2000. Hoff has been promoted from vice president to senior vice president east coast sales in National CineMedia’s New York office where she will continue to lead the New York national sales team. Hoff joined National CineMedia in June of 2006 after spending 10 years at ESPN/ABC Sports in New York most recently serving as vice president multi-media sales. Leff has been promoted from vice president to senior vice president public relations and communications and is based at National CineMedia’s headquarters in Centennial Colorado where she will continue to lead the company’s public relations team. Leff joined Regal CineMedia (now National CineMedia) in 2002 as vice president public relations planning and directing all aspects of the company’s trade and consumer public relations and media relations strategies prior to its formation as National CineMedia in 2005. Before joining Regal CineMedia Leff served as senior vice president of Trylon Communications an independent public relations agency based in New York City managing entertainment and media account groups and working with clients such as Discovery Communications HGTV AT&T Broadband and BET.com among others. National CineMedia www.ncm.com,218
New Study Looks at Everything from Red to Blu-ray,2008-08-13,Digital Cinema is more than just about a digital projector. The entire value chain is changing - everything from the excitement caused by a new company selling a camera called Red to new ways to make money with Blu-ray and everything in between. It is difficult to find an industry that is undergoing so much change. And where there is change there are opportunities for companies to find growth. It has been three years since the Digital Cinema Initiative published recommendations for how distributors and theatres should handle movies distributed and exhibited digitally. The recommendations have since turned into standards and the Digital Cinema industry went through a burst of activity and growth. There are now more than 6 300 digital screens worldwide and major movies are now distributed digitally as well as with film. But there are well over 100 000 screens worldwide and the industry has hit a momentary pause as it tries to figure out how to step into the next phase. As with any complex system involving hundreds of companies and dozens of steps people began to uncover a few things along the way that needed to be addressed to make things run smoothly. The DCI recommendations are now at version 1.2 incorporating hundreds of issues discovered in the beginning years. Some of these revisions affect the equipment that early adopters have already installed. The economics are also evolving. Early deals for how to finance the equipment are evolving as financers try to balance the demands of studios the resistance of theatre owners and the realities of the market. But theatre owners are discovering that digital cinema might actually be good for them too. One bright spot is stereoscopic 3D. Some movies are known to have taken four times the box office take on a 3D screen versus a 2D screen. And there is Alternative Content that is helping to fill seats during mid-week days. This report visits each step of the digital cinema value chain. The processes technologies products issues and opportunities are explained. It includes an expanded section on the topic of stereoscopic 3D movies an area that is surprising a lot of companies. This is an extensive report covering a large number of topics and it includes 127 illustrations and 34 tables. Digital cinema is shifting gears and changing the entire value chain. In the process it is expanding the definition of digital cinema - creating new issues and challenges that lead to new opportunities. Digital cinema is also affecting some adjacent industries in sometimes surprising ways. Research and Markets www.researchandmarkets.com ,219
Carmike to Show Delirium and Rent,2008-08-13,Carmike Cinemas has announced that Cirque Du Soleil's Delirium and the Broadway hit Rent will be featured on 176 digital screens at Carmike movie theatres through Sony's The Hot Ticket. Tickets will cost $20 for each event. For fans of Broadway shows rock concerts or premier sporting events The Hot Ticket will provide a community experience to see some of the world's best entertainment on larger-than-life digital screens it was announced.Starting Aug. 20 Carmike Cinemas will feature Cirque Du Soleil's Delirium on 176 of its digital screens. Delirium remixes Cirque music and adds lyrics featuring musicians dancers singers and acrobats. Starting Sept. 24 Carmike will bring the Broadway musical hit Rent to the big digital screen. The presentation will feature special closing night extras with original cast members of the Tony- and Pulitzer Prize-winning musical.Gary Krannacker Carmike vice president of operations says Carmike was excited to bring big-city Broadway hits and other events to customers across the country.We are giving people the unique opportunity to go to their local Carmike Cinemas and see these events on our giant digital screens with their friends and other cultural enthusiasts Krannacker says.,220
SMPTE Fall Conference to Focus on Technology “Nut and Bolts” ,2008-08-28, New and emerging entertainment technologies of practical use to content creation management distribution and display professionals will be the focus of SMPTE 2008: Annual Tech Conference and Expo. The Society of Motion Picture and Television Engineers says early bird registration is now open for the international event. The three-day conference and trade show takes place October 28-30 at the Renaissance Hotel in Hollywood California and will be preceded by a special pre-conference symposium on October 27.
SMPTE 2008 will feature keynotes white papers case studies and tutorials from thought-leaders worldwide who will detail their findings and experience on a broad range of topics from stereoscopic 3D theatrical and home entertainment to asset management via metadata to IPTV. “We designed the SMPTE 2008 Tech Conference and Expo to be a nuts and bolts resource for our members as well as a service to the greater professional entertainment technology community ” says Kimberly Maki executive director of the organization and the show. “It is a nonproprietary event where the industry can learn about the latest media-related technologies and how they will be employed and about the innovations likely to be put into place in the next five years.”
SMPTE 2008 will offer more educational sessions than previous annual shows brought about by a record number of white paper submissions. More than 55 percent of the tendered research came from experts outside the United States. Final presenters were selected by the SMPTE 2008 program committee which is chaired by Tom Scott vice president technology OnStream Media. An expanded trade show floor will complement this year’s conference with high-tech hands-on displays from companies in the entertainment hardware software tools and technologies marketplace.
Peter Ludé senior vice president of engineering Broadcast and Business Solutions Sony Electronics is SMPTE editorial vice president; John Luff television technology consultant with HD Consulting is conference vice president; and Patricia Keighley vice president/general manager of David Keighley Productions 70MM Inc. is chair of the Local Arrangements Committee.
SMPTE 2008 www.smpte2008.org AttachmentSize smptenews134main.jpg11.97 KB ,251
Cine-tal Systems Acquires CineSpace from Rising Sun Research,2008-08-28,Cine-tal Systems has acquired Rising Sun Research’s CineSpace color management technology and product line. By combining our display management software and display hardware products with the proven cineSpace color management software we are providing a comprehensive solution for color management and display management says Cine-tal Systems CEO Rob Carroll and we are committed to providing our customers with the very best technology for collaborating processing and displaying visual media. CineSpace is widely used for film and television production. It is employed by production and post-production facilities worldwide to ensure that all of their displays match and conform to a specified output medium such as a particular film stock or video format. It ensures that the images artists see on their screens are identical to how they will look when projected in a movie theatre or shown on television. RSR has always had huge ambitions for CineSpace and we've worked hard over the last several years to create an industry leading product and a respected brand that is highly focused upon delivering value to our clients. This deal represents a realization of that potential enabling CineSpace to leverage the resources and strategic vision of Cine-tal to grow further innovate faster and to scale the delivery of its world renowned solutions to the benefit of our clients says Rising Sun Research CEO Clint Walker. We've been working with Cine-tal for some time now to take the CineSpace product line and extend it both functionally and to other parts of the market. The integration of CineSpace with Cine-tal's current and future technology creates a long term solution in color and display management says Jeremy Pollard CineSpace product manager. RSR will continue working closely with Cine-tal over the next several months as the company integrates CineSpace software technology with its own display management software which is still in development. The combined technology designed to be interoperable with Cine-tal's hardware products will provide companies involved in film and television production with a solution to manage the vast profusion of display devices available today as well as those that will appear in the future. Cine-tal will also continue the development and marketing of CineSpace as a standalone solution for color management in visual effects and digital intermediates. Cine-tal Systems www.cine-tal.com Rising Sun Research www.rsrhq.com ,252
3D Conferences Slated for September and December,2008-08-28, Those involved in both the creative and business aspects of 3D can look forward to two important events taking place this September and December. 3D Biz-Ex September 29-October 1 2008
Running September 29-October 1 2008 3D Biz-Ex is a big tent event that brings together developers providers and customers in all 3D market and application segments. A full three-day agenda loaded with information entertainment and education is planned. The event features an opening day of tutorial seminars followed by two days of presentations exhibits and networking with the leaders in the stereoscopic 3D industry. This year the conference is in the heart of Hollywood at the Sheraton Universal Hotel in Los Angeles California. This event will: • Showcase the full scope of the diverse 3D industry • Enable cross-application communication • Create networking with other leaders in the industry • Develop technology/solution partnerships • Help customers understand the maturity and benefits of 3D solutions • Allow leaders to understand the key business issues facing market expansion • Enable greater understanding of technology innovations market dynamics and strategic opportunities In addition to technology application and business presentations from 3D professionals 3D Biz-Ex will feature two high-level panel discussions: • Fly Me to the Moon Panel: Illuminata Picture's Domonic Paris (creator/writer/executive producer) Mimi Maynard (producer voice directing voice casting) and Gina Gallo (creator producer voice casting/directing) will discuss 3D film making from concept to theater. • 3D Digital Cinema Panel Discussion: Leaders in the digital cinema industry will discuss why 3D is becoming a very important element in their strategic thinking. Current and evolving business models new Hollywood 3D movies and 3D sports alternative entertainment and trends in technology will all be discussed. Opening day seminars for attendees unfamiliar with the industry will cover the basics of stereoscopic displays through to the creation of 3D content process and techniques. Industry leaders including Jerry Marks Art Berman and Greg Passmore will share experience and knowledge with the attendees. Two tracks ensure something for those who make content and need to understand how it will be displayed as well as those who make displays and try to understand how the content is created and transferred. The $350 fee allows attendees to go to any of the seminars they desire. 3D Entertainment Summit December 1-2 2008 Also on the docket is the 3D Entertainment Summit the industry’s first 3D entertainment conference focusing on business strategy and innovation. 3D Entertainment Summit was recently launched by entertainment veterans Bob Dowling (former editor-in-chief and publisher of the Hollywood Reporter and president of the Bob Dowling Group) along with Connecticut-based event management company Unicomm LLC. Focused entirely on 3D film video gaming and home entertainment markets 3D Entertainment Summit is the industry’s first business event exclusively designed to address both the long and short term business strategies affecting this emerging marketplace. The event is scheduled for December 1-2 2008 at the Beverly Hilton Hotel in Beverly Hills California.
As an increasing number of new major motion pictures are released in 3D many of the top studios and prestigious filmmakers have not only embraced this technology but have committed to incorporating 3D as part of their artistic and long-term economic plans.
Jeffery Katzenberg chief executive officer and president of Dreamworks Animation Inc. will introduce the event and provide opening comments to event attendees.
The next generation of 3D represents a dazzling new innovation in filmmaking and film going ” says Katzenberg. “What our filmmakers are able to create using these new state of the art digital tools is absolutely amazing. To date there have been two great revolutions in movies from silent film to talkies and from black-and-white to color. The next revolution arrives in 2009 when movies go from 2D to 3D.
The 3D Entertainment Summit is dedicated to the promotion and education of 3D technology marketing and distribution. It's the one place where individuals and organizations will find out who stands to gain or lose from the success of the 3D entertainment revolution.
“The 3D Entertainment Summit is this year's most crucial educational and networking event for developing business strategies to harness the explosion in 3D entertainment ” says Dowling.
The purpose of the summit is two-fold.
First attendees from all facets of the industry will come to gain insight education and a vision of how things will evolve what strategies they can implore to leverage this opportunity and how the creation marketing and distribution supply chain will coalesce to feed 3D demand.
Of equal importance a highly successful sponsorship program was created so that pioneering companies who are in the forefront of this technology can continue to gain market awareness and most importantly educate the relevant stakeholders in the entertainment and motion picture theater industry about their products.
“3D entertainment continues to make a fundamental impact in the entertainment industry from conception to production from directing to distribution ” says John Golicz chief executive officer of Unicomm. “More than any other technology 3D is about to change everything.”
The 3D Entertainment Summit brings filmmakers studio executives media financial analysts associations and industry stakeholders together in one place at one time all focused and ready to learn how this technology needs to be part of their long-term business plans.
Highlighting the event will be a sophisticated three track conference program featuring over 20 sessions and over 50 speakers all exclusively focused on 3D and geared to deliver leading insights market direction and business strategies.
The event’s unique format will include breakout forums covering strategic business issues in technology content production/post production and playback and distribution. Attendees will learn from the experts in sessions covering topics such as: • 3D filming: Art or Technology? • Consumer demand: How much more will they pay? • Production hurdles: What do I need to buy and how much more am I going to spend? • Winning in the theater: How and what technology will theater owners adopt? • Is 3D a fad or is it here to stay? • Technology: Where do you bet and how do you win? • Will the studios lead the pack? • Blu-ray on demand: When will 3D hit the home? • Animation and 3D: Where is the future going and who is leading the pack? • Will 3D win over Wall Street? Where is the 3D market and just how big is it? • 3D & gaming: How professional cinema influences the gaming industry. To enhance industry interaction the event’s organizers have developed a unique showcase area of the event to allow technology and service vendors to meet with industry stakeholders to discuss business issues demonstrate products and build partnerships. Key sponsors will highlight 3D technology providing brief viewing shorts prior to general sessions.
3D Entertainment Summit www.3D-Summit.com ,253
Barco Supplies Projectors for the 61st Locarno Film Festival,2008-08-28,Barco was selected by XDC to be the exclusive projector supplier for last month’s 61st Locarno Film Festival. The highlights of the festival were the open-air screenings at Piazza Grande. Every August around 190 000 cinema-goers over 1 000 journalists and 3 200 professionals gather in the small Swiss-Italian town of Locarno for an eleven day film festival. The Locarno Film Festival presents 100 digital screenings in five different venues including the famous Piazza Grande. At nightfall the Piazza Grande transforms into a unique open-air cinema with a 26-meter screen and room for 8 000 spectators. To contribute to the magic of these screenings XDC chose Barco’s DP-3000. “We wanted to provide the Locarno Film Festival with the best possible technologies ” says Fabrice Testa vice president sales and business development at XDC International. “The Piazza Grande is the biggest challenge as we need a projector that is bright enough to project in open air. By using Barco’s 2K digital cinema projectors we are sure to offer the Locarno audience unsurpassed image quality in all circumstances.” “We are proud to have been chosen for the Piazza Grande at the Locarno Film Festival ” says Tim Sinnaeve sales director digital cinema at Barco. “This allows us to really show the high performance qualities of our digital cinema projectors even in a non-traditional environment such as an open-air cinema. “ In addition to the Piazza Grande the Teatro Kursaal Auditorium Fevi La Sala and Rialto were all equipped with Barco’s DP-2000 digital cinema projectors. Barco www.barco.com ,254
Digital Vision to Support Red,2008-08-28,Digital Vision has announced that all its software systems will now support footage captured with Red One cameras. With the release of Red’s SDK users of Digital Vision’s Film Master will be able to grade native Redcode RAW files improving the workflows of feature film broadcast programs and commercials shot on the Red One camera. Simon Cuff president and COO Digital Vision says “Digital Vision has always been committed to embracing the latest advances and with this announcement we’re again putting our customers ahead of the creative curve. We are offering an advanced workflow for Red which has proven to be one of the most in-demand acquisition tools and one that will continue to be of great interest to the creative community. We have taken Red productions one step further and fine tuned our DVO tools to improve post-production workflows even more. More than sixty features have been shot using the Red camera with a number graded on Film Master. This integration helps us play a major role in the revolution.” Digital Vision www.digitalvision.se ,255
Kodak Scholarship Winners Names at Conference,2008-08-28,Recipients of the 2008 Eastman Scholarship and Kodak Faculty Scholars Programs were announced last month during the 62nd Annual University Film and Video Association Conference at Colorado College. The Gold Award for Excellence in the Craft of Filmmaking was presented to Marc D'Agostino from Temple University for his film Adam and Evan. D'Agostino received $5 000 plus an Eastman Product Grant valued at $5 000. The Silver Award went to Regent University's Mitchell Lusas for Order. Lusas received $4 000 plus an Eastman Product Grant valued at $4 000 and was also given an honorable mention by the judging panel for his cinematography on the film. The Bronze Award of $3 000 cash plus a $3 000 Eastman Product Grant was awarded to Erick Crespo for his film Rabia. Crespo is from Chapman University. Honorable mentions earning an Eastman Product Grant to the value of $2 000 were given to two Stanford University students: Charlene Music for her film Before the Sea and Meghan O'Hara for the title Color Film. The winning entries were judged by a panel led by William A. Fraker ASC BSC. Randy Tack Kodak's technical training specialist and cinematographer and Bart Weis president of the Video Association of Dallas and artistic director of the Dallas Video Festival along with a UFVA representative joined Fraker as judges. Assessment of the Eastman Scholarship is based on previous work submitted by the students recommendations from faculty and academic achievement. As part of the Eastman Scholarship Program the U.S. and Canada regional prize of the Kodak Filmschool Competition was also bestowed. This award recognizes excellence in cinematography and earns a $2 000 Eastman Product Grant plus a trip to the Clermont-Ferrand International Short Film Festival. It was presented to Aonan Yang from Concordia University in Montreal for his work on the film Singularity. A faculty project that best cultivates a learning experience based on submitted proposals treatments and samples of work is also selected to earn the 2008 Kodak Faculty Scholars Program Award which went to Wenhwa Ts'ao for her film Nova. Ts'ao is from Columbia College Chicago. It's extremely rewarding to witness the difference these scholarships and awards can deliver to the career of a student or faculty member says Wendy Elms worldwide education segment manager for Kodak's Entertainment Imaging group. Kodak is passionate about encouraging an understanding of the value and honor attained in the pursuit of excellence. By helping the next generation of filmmakers shoot on film we can help them enhance their projects through image excellence so they may achieve the best possible result despite working with an often limited budget. Kodak www.kodak.com/go/education ,256
New York Disabilities Film Festival Premieres in September,2008-08-28, Realabilities: The First Annual NY Disabilities Film Festival debuts this fall simultaneously in 14 locations throughout the New York metropolitan area. From September 21-23 Realabilities will showcase feature documentary and short films by and about the lives of people with disabilities.
Premiering the week before National Disability Awareness Month Realabilities aims to promote awareness and appreciation of the lives stories and artistic expressions of people with different disabilities. Discussions and other engaging programs will bring together the community to explore discuss and celebrate the diversity of our shared human experience.
This year’s film line-up includes: War Eagle Arkansas. Robert Milazzo director. Drama 90 minutes. US 2007. www.wareaglethemovie.com. This story of friendship between Enoch Cass a star pitcher with a debilitating stutter and Samuel “Wheels” Macon his best friend with cerebral palsy finds these two at the crossroads of childhood and independence. Will Enoch decide to pursue his own interests or remain shackled to his hometown and its people?
Ben X (NY Premiere). Nic Balthazar director. Drama 93 minutes. Belgium 2007. www.benx.be. Ben lives in a universe unto itself. He hides from his harsh reality of school being bullied and awkward social interactions by escaping into his favorite online computer game Archlord where he is safe strong and in control of his surroundings. In this remarkable drama Ben devises a plan to leave his reality and become the hero he dreams of being. Every Time You Look at Me. Alrick Riley director. Drama 87 minutes. UK 2004. www.bbc.co.uk/ouch/tvradio/everytime. In this ground-breaking BBC film Chris and Nicky meet across a crowded nightclub. There's an undeniable spark but falling in love with another disabled person is the last thing either of them is looking for. This modern day love story questions relationships: “Every time you look at me you see yourself…” Outsider: The Life and Art of Judith Scott. Betsy Bayha director. Documentary 26 minutes. US 2006. www.judithscottdocumentary.org. In this award-winning film Judith Scott creates body-like sculptures from found objects. Judith has Down syndrome is deaf and does not speak. These sculptures are her most complex means of communication. Judith had become a famous “outsider artist ” proving the power of artistic expression and the importance of a loving family.
Shameless: The Art of Disability. Bonnie Sherr Klein director. Documentary 76 minutes. Canada 2006. www.nfb.ca. Director Bonnie Sherr Klein gathers a crew of artists with diverse disabilities for a pajama party. A comedian poet dancer and others take a subversive look at Hollywood stereotypes of people with disabilities. They decide to continue meeting and together embark on a mission to create their own images of disability.
Silent Games (US premiere). Yael Klopmann director. Documentary 74 minutes. Israel 2008. www.filminginisrael.com/SilentGames. The captivating story of an Israeli national deaf soccer team set out to become one of the top eight contenders in the 2007 World Championship in Bulgaria. Through ground-breaking techniques award-winning director Yael Klopmann follows the stars of this team through their victories and hardships.
Snow Cake. Marc Evans director. Drama 112 minutes. UK 2007. www.snowcakemovie.co.uk. This festival favorite starring Sigourney Weaver follows the story of Alex an ex-convict on a road trip who picks up Vivienne an eccentric hitchhiker. A serious car accident kills Vivienne prompting Alex to visit Vivienne’s mother. What he discovers is a woman with high-functioning autism who convinces him to stay after the funeral. In those few days Alex discovers new friends and learns more about the uniqueness of Linda as he struggles to come to terms with his own grief. Special People (NY Premiere). Justin Edgar director. Drama 80 minutes. UK 2007. Enlisted to teach a class about filmmaking to teenagers with disabilities the neurotic Jasper is met with blank indifference and a snappy attitude from the streetwise adolescents. This smartly-written comedy questions condescending outreach projects self-defeating attitudes and the vacuity of the film business—all with a sly wink and a healthy helping of self-parody.
Stubborn and Spite. Lou Birks director. Drama 3 minutes. UK 2007. Witness the mayhem that ensues when two drivers with disabilities fight over who should get the last disabled parking spot—with drastic and often hilarious consequences.
Tickets to Realabilities: The First Annual NY Disabilities Film Festival are available online at www.realabilities.org.
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Big Sky Documentary Film Fest Deadline Approaches,2008-08-28,The Big Sky Documentary Film Festival the premier venue for non-fiction film in the American West is seeking submissions for its sixth annual event to be held February 13-22. Final deadline for submissions is October 20. The festival will screen 100 films including world and U.S. premieres classics rare and experimental works on Montana's largest screen at the historic Wilma Theater in downtown Missoula Montana. In addition to 10 days of screenings the event will feature many public and VIP events including panel discussions galas receptions and networking round tables. The competitive event is open to non-fiction films and videos of all genres subject matter lengths and production dates. Awards and cash prizes will be given for best documentary feature (over 50 minutes) best documentary short (15-50 minutes) best mini-doc (under 15 minutes) and best documentary about the American West (the Big Sky Award). VHS (NTSC/PAL) DVD (NTSC/PAL) DVCAM (NTSC/PAL) HDV (NTSC) and miniDV (NTSC/PAL) are accepted for preview. Contestants may enter online at www.withoutabox.com/login/3969 or download an entry form in pdf format at www.bigskyfilmfest.org/entries.html. Those who wish to have an entry form e-mailed to them in pdf format may send a request to [email protected]. Big Sky Documentary Film Festival http://www.bigskyfilm.org ,258
Digital Domain to Install Tactic,2008-08-28, Digital Domain says it will integrate the Tactic digital asset management system from Southpaw Technology into its digital production workflow. The company plans to use it on upcoming feature film commercial and game projects.
“Tactic promises to provide us with a solid infrastructure for managing the complex flow of digital assets through our pipeline ” says Phil Peterson Digital Domain’s senior technology officer. “We’re working closely with Southpaw to integrate this application into our overall workflow management architecture and toolset.”
“It’s very exciting to work with Digital Domain’s dedicated creative and talented group of digital artists and we are thrilled they have chosen to integrate Tacric into their production pipelines ” says Remko Noteboom CTO of Southpaw. “We are committed to providing a robust asset management solution that is capable of managing the highly complex projects and leading-edge visual effects work that Digital Domain tackles everyday.”
Southpaw Technology www.southpawtech.com ,259
Zacuto Opens Professional Video Sales Showroom in Chicago,2008-08-28,Zacuto has opened a professional video sales showroom in River North Chicago. The company says it is now the only full service showroom in Chicago selling professional video camera setups. The focus of the new showroom is on the Zacuto USA brand of products all designed and manufactured in the USA. Zacuto also is a complete reseller of a large brand selection of production equipment cameras and accessories. Zacuto products are used to create cinema style camera setups for independent filmmakers turning their small HD cameras into camera packages able to shoot feature films. Zacuto’s products come with a lifetime warranty and are known worldwide as the most innovative and highest quality you can buy. With the addition of 1 500 square feet of space at 401 West Ontario Zacuto now occupies just over 9 000 total square feet on two floors. Some of the new renovations include an interior spiral stairway connecting the two floors expanded rental prep area assembly area three night drop rooms and 1 000 square feet combined use room that can be used for exhibitions seminars shoots and more. Additionally Zacuto has garage and valet parking for their customers. The finished office is outfitted in Zacuto’s colors of red silver and black. Joanne Brychel of Paint and Paper Works Inc. was hired to do the interior design and painting. Zacuto has created an expansive gallery through out the office with an impressive collection of over 50 vintage video cameras and monitors some directly from the private collection of the owners who have been in production end of the business for over 25 years. Zacuto www.zacuto.com ,260
Dolby Supports Toronto International Film Festival for 15th Year,2008-09-06,Dolby provided technical services and digital cinema technology systems to the 2008 Toronto International Film Festival for the 15th year in a row. The 33rd TIFF was held September 4-13 at venues throughout Toronto. Digital technology is now prevalent throughout the entire ecosystem of moviemaking-from shooting and editing to postproduction making digital playback an ideal solution for festivals and theatres alike says Bill Allen senior director production services Dolby Laboratories. We are proud to offer our support and solutions to the Toronto International Film Festival ensuring that filmmakers can more accurately share their creative vision and audiences get the best possible experience. TIFF will outfit all of the Toronto video-capable venues with Dolby E decoding providing emerging filmmakers the flexibility to showcase their 5.1-channel mixes before engaging in the complex film post-production process. Dolby E is a professional digital audio coding technology that optimizes the delivery of multichannel audio through a two-channel infrastructure enabling festival filmmakers who use Dolby E to present their six-channel mix directly from a HDCam tape. In addition the Festival will outfit four venues with Dolby Digital Cinema a complete digital system for storing managing and playing digital movies for the presentation of movies that have gone through digital cinema packaging in post-production. We are thrilled to have Dolby engineers David Berti and Paul Sacco on site and to use Dolby's technologies at the festival to ensure that our movie screenings look and sound the best they possibly can says Andrei Gravelle technical manager Toronto International Film Festival. We believe that Dolby's quality and standards provide a professional level of playback and give filmmakers the flexibility they look for when showcasing their art. Dolby truly advances the festival into the digital moviemaking age. Dolby Laboratories www.dolby.com ,283
IndiePix Forms Exclusive Partnership with The Cinema Guild,2008-09-06, IndiePix the Internet-based distributor of independent films has formed a partnership with American film distributor the Cinema Guild. The partnership enables The Cinema Guild to offer a number of its films through IndiePix’s patented Download-to-Own technology. This is the first time that The Cinema Guild has ever utilized the Internet as a model to electronically distribute its award-winning titles as part of a collection. The Cinema Guild has been distributing both documentary and fiction films for over 35 years – but never used the Internet as its distribution channel. Thanks to this arrangement a number of The Cinema Guild’s foreign titles are now available to a wider and younger generation of film fans – whose main resource for discovering new films is the Internet.
“We are thrilled to be partnering with IndiePix ” says Ryan Krivoshey The Cinema Guild's director of distribution. “In a relatively short time IndiePix has established itself as a prime destination on the web for fans of independent and documentary cinema – and the prospect of making our films available to this new audience is truly exciting.”
“To be approached by such an established name as The Cinema Guild was fantastic for IndiePix ” says Jason Tyrrell IndiePix acquisitions team member. “It really highlights the continuing shift in the industry with the Internet gaining strength as an effective distribution model – a potential that The Cinema Guild has recognized. By utilizing our Internet-based Download-to-Own technology a younger generation of film fans will have access to films they may never have thought to try before – particularly foreign films – because it costs very little and can be downloaded in high quality anywhere. The Cinema Guild's standard for the highest quality independent film matches our own and it's these technological breakthroughs that allow a wider audience than ever before to find fantastic movies.”
Some of the films available through IndiePix include La Moustache (winner Director's Fortnight Cannes Film Festival) Le Petit Lieutenant (Best Actress Nathalie Baye César Awards) and Sacrificio: Who Betrayed Che Guevara? (First Prize International Documentary Fesivals of Brazil and Portugal). IndiePix www.indiepixfilms.com
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Fogel Joins National CineMedia as Senior VP,2008-09-06, Bennett Fogel has joined National CineMedia as senior vice president of sales development and integrated marketing in New York.
In his new position Fogel will be responsible for developing new business strategy and introducing new advertisers to the cinema medium. He will work to orchestrate integrated deals across NCM’s multiple platforms including its flagship FirstLook pre-feature program seen on approximately15 000 movie screens that comprise the company’s Digital Content Network; NCM’s Lobby Entertainment Network; and other in-theatre promotional products and events.
Fogel joins National CineMedia after more than a decade as executive vice president of sales and marketing with Univision where he led a team of business development executives which helped grow the Univision Networks from $250 million in revenue to over $1billion in sales. Prior to Univision he spent eight years with Disney in several positions including vice president general sales manager at KCAL Disney’s owned and operated station in Los Angeles California. During that time he also helped create Disney Sports Media a unit which handled all aspects of Disney’s sports media properties and KCAL sponsorships including the Lakers Kings Clippers Angels and Mighty Ducks. A graduate of Hofstra University Fogel holds a Bachelor of Arts degree in Business Administration.
“Cinema provides a powerful marketing tool and while it remains one of the fastest growing ad mediums in the U.S. there are advertisers that have yet to take advantage of the impact it can have on the awareness of their product or brand ” says Cliff Marks president of sales and chief marketing officer with National CineMedia. “Bennett brings great strategic thinking and a deep roster of client and marketer relationships to the table and I believe he will be a great asset to our on-going effort to expand our national client base. I’m thrilled to welcome him to our team.”
National CineMedia www.ncm.com ,286
Aardman Animations Buys Third Sledgehammer HD!O File Server,2008-09-06, Aardman Animations has taken delivery of its third Maximum Throughput Sledgehammer HD!O file server and real-time multi-format video device. XFTX a Maximum Throughput reseller based in London is providing sales and integration support for the project.
Aardman Broadcast and Commercials a division of Aardman Animations will incorporate the new unit into its existing production workflow at its Gas Ferry Road facility where it will be exclusively used for the production of TV commercials. The new Sledgehammer HD!O and its built-in MAXmedia application will be used at several stages of the stop frame animation production process multi-tasking as a DDR playout system high-performance NAS file server for edit bays as well as a format conversion and media processing and assembly solution. According to Ian Fleming head of production technology at Aardman Animations compatibility with Final Cut Pro for off-line editing and a sharp reduction in rendering time makes Sledgehammer HD!O the ideal choice for its TV commercial production workflow. Aardman Broadcast and Commercials has realized similar workflow efficiencies using its two other existing Sledgehammer HD!O in its production workflow for broadcast television series including the popular TV series Wallace & Grommit.
“Sledgehammer has infinitely improved the efficiency of our broadcast production workflow and we estimate that utilizing Sledgehammer in our commercial workflow will translate to a 25-to-30 percent reduction in time spent rendering and performing other tasks ” says Fleming. “Sledgehammer acts as a hub in our workflow performing multiple tasks along the way and directly interfacing with Final Cut Pro systems for off-line editing. The ability of Sledgehammer to play out native media in real-time directly into our Final Cut Pro systems eliminates time spent rendering at that stage of the workflow. The result is a much quicker throughput and a more efficient overall operation.”
In the TV commercial production workflow Aardman Broadcast and Commercials will first use the Sledgehammer HD!O to play out HD 4:2:2 still frames in the .DPX image sequence format and create “on the box” SD proxies by applying Sledgehammer’s on-the-fly image format conversion and cropping/resizing tools. The proxies are used by Final Cut Pro for off-line editing and then Sledgehammer HD!O would EDL conform the shots using the original HD .DPX files.
Fleming adds that the shorter time scale for project turnaround in the production of commercials makes Sledgehammer’s efficiency critical to the operation.
“Production of commercials is far more intense than in long-form broadcast TV programming ” says Fleming. “When in production we can write the digital media directly to the Sledgehammer storage play out the media in native form into Final Cut Pro and return to Sledgehammer to conform the media to XML or EDL. This is a huge time-saving benefit because there is no need to convert the files to QuickTime ahead of transporting the media to the off-line editing process.”
Fleming adds that Sledgehammer’s interoperability with its media management network allows for instantaneous review of commercial dailies from the studio floor which assists with the quick turnaround time required in the production of commercials. He also expects Aardman will investigate the possibility of networking all three of its Sledgehammer HD!O systems for the purpose of migrating image sequences from commercial to broadcast projects and vice versa.
Maximum Throughput www.max-t.com ,287
Atlantik Film Migrates to Tapeless Workflow,2008-09-06,Atlantik Film a Hamburg-based branch of CinePostproduction has migrated to a tapeless workflow. The core of the new tapeless workflow is a DVS-SAN for use as an online and near-line storage system complemented by a SpycerBox. Existing and new systems are integrated via switches and data connections. Atlantik Film's goal had been to increase the performance efficiency and throughput rate of its projects while simultaneously achieving a maximum level of data security. Roland Nethe supervisor digital lab for Atlantik Film says It was obvious to us that migrating to a tapeless workflow was the way to go. Since we are talking about the core of our workflow here it was important for us to find a dependable partner to enable us to troubleshoot potential problems quickly and reliably. DVS is this partner. Michael Bauer DVS sales director for Central Europe says We have been able to fulfill Atlantik Film's need for an ideal workflow. Thanks to the intelligent combination of Clipster DVS-SAN and the SpycerBox Atlantik Film now achieves a significantly higher performance. DVS systems not only reduce costs but they also eliminate waiting times permitting post producers to process a greater number of projects in parallel. ,288
Band Pro Announces Lease-to-Own Program,2008-09-06, Band Pro has announced a special Lease-to-Own program for select Sony equipment and Zeiss DigiPrime and DigiZoom lenses purchased from Band Pro.
This flexible program offers customized financing choices on approved credit including zero down and zero interest for 12-months zero down and 2.88 percent for 24 months or zero down and five percent interest for 36 months.
According to Band Pro's president Amnon Band “This program is established to make it easier for imaging professionals and rental houses to get a good return on investment from the first month of ownership.” The program includes cameras camcorders VTRs projectors and monitors by Sony Broadcast Sony Pro Audio as well as Carl Zeiss DigiPrime and DigiZoom lenses.
This Lease-to-Own opportunity is effective immediately and will expire Dec 31. The offer is subject to change without notice.
Band Pro Film & Digital www.bandpro.com ,289
Schneider Introduces Lens Accessories for Sony HVR-Z7U
,2008-09-06, Schneider Optics has introduced a full array of professional Century HD lens accessories to complement Sony's HVR-Z7U and HVR-S270OU camcorders. These 72mm lightweight optical attachments provide high resolution image clarity while enabling the camera to go wider reach further and move in closer than the lens alone will allow.
New Century accessories for the HVR-Z7U include the .6X HD Wide Angle Adapter (HD-06WA-Z7U) Fisheye HD Adapter MKII (HD-FEAD-Z7U) .3X HD Ultra Fisheye Adapter (HD-FE3X-Z7U) and 1.6X HD Tele-Converter (HD-16TC-Z7U). Century Pro Series HD lens accessories employ state-of-the-art optics for high-resolution images with low distortion and superior contrast edge to edge. Multi-coated glass elements provide sharp images free of unwanted distortion or chromatic aberration. Units are equipped with a bayonet mount for quick and sure installation and removal from the front of the camera lens.
U.S. MSRP starts at $490. Schneider Optics www.schneideroptics.com ,290
USC’s Daley to Receive First Charles S. Swartz Award,2008-09-09,The Hollywood Post Alliance has announced that the dean of the University of Southern California School of Cinematic Arts Elizabeth M. Daley will receive the organization’s first Charles S. Swartz Award. The award will be bestowed during the HPA Awards gala on November 6th and honors a person group company or technology that has made a significant artistic technological business or educational impact on post-production. The mission of this award is to recognize broad and lasting contributions that have advanced and/or provided some unique purpose to the field of post-production. Charles S. Swartz in whose honor the award was named passed away in 2007. Swartz was the executive director and CEO of the Entertainment Technology Center at USC as well as a respected technologist educator and producer. In announcing Daley as the recipient of the award HPA president Leon Silverman says “We are honored to have Elizabeth Daley be the first recipient of the Charles S. Swartz Award given Charles Swartz’s relationship to Dean Daley USC and the impact his own career had on the future of our industry. She has made important contributions to our industry in helping to prepare the filmmakers of the future for their careers in an era of significant creative and technological possibilities. In addition to her role at the School of Cinematic Arts Elizabeth has also had profound influence as a major architect in the industry’s thinking and planning for the digital revolution through her leadership of the USC Annenberg Center for Communication. Elizabeth Daley’s vision has extended well beyond the university. Her prescient view executed in an advanced curriculum is producing some of the industry’s most important creative and artistic innovators. Through her work and ideas she is helping to set the stage for the industry of the future. ” Daley is a globally recognized expert in digital media and academia. She has been the dean of the USC School of Cinematic Arts since 1991 and was the founding executive director of the Annenberg Center (1995 – 2005). As the leader of the Cinematic Arts School Daley spearheaded the expansion of its six divisions as well as the infrastructure and endowment that supports them. Highlights of her tenure include the creation of 14 academic chairs construction of the 35 000-square-foot Robert Zemeckis Center for Digital Arts and the founding of the Interactive Media division. She currently oversees the creation of a new cinematic arts compound which is composed of a new state of the art complex which will feature a 137 000-square-foot facility and four integral adjacent structures—a 36 000-square-foot instructional building; a 9 500-square-foot soundstage; a 9 200-square-foot soundstage; and an 8 450-square-foot soundstage. As director of the Annenberg Center she oversaw numerous projects exploring the intersection of digital technology and society including the Institute for Multimedia Literacy which examines and defines literacy for the 21st century based on a mastery of sound image and text. The Charles S. Swartz Award was created to honor individuals who have made outstanding contributions to the field of post-production an industry in a state of an expanding creative palette and of dynamic transition as a result of digital technologies and societal changes. Swartz led the Entertainment Technology Center from 2002 until 2006 and helped to build it into the industry’s premiere test bed for new digital cinema technologies which helped to establish the ETC at USC as a vital educational center for entertainment professionals. In addition to a long and successful career as producer educator and consultant Swartz served on the board of directors of the HPA. Hollywood Post Alliance Awards www.hpaawards.net ,291
Library of Congress to Show Classics in Art Deco Theatre,2008-09-09, Starting this month the Library of Congress will offer a picture-perfect dream for cinema buffs—classic movies shown three times a week in a new art deco theatre reminiscent of the movie palaces of the 1920s and 1930s.
“Rarely today are so many classic American films shown in 35mm in a single location under such ideal new conditions ” says Mike Mashon head of the Moving Image section of the library’s Motion Picture Broadcasting and Recorded Sound division.
The 200-seat theatre is located in the library’s state-of-the-art recently opened Packard Campus of the National Audio-Visual Conservation Center on Mount Pony near Culpeper Virginia. It is one of only five theatres in the country equipped to show original classic film prints on nitrate film stock as they would have been screened in theatres prior to 1950.
The theatre on Mount Pony also features a custom-made organ that can rise from a pit in the stage. “Watching silent films accompanied by live music will allow patrons a richer cinematic experience ” Mashon says.
Sponsored by MBRS the film series will mark the first public showings at the theatre on Mount Pony. The series running from September 4 through November 22 will showcase selected short subjects and feature film classics such as The Maltese Falcon The Wizard of Oz 42nd Street and Gone with the Wind. All of the feature films are on the library’s National Film Registry a list of culturally historically or aesthetically significant films that are preserved for all time.
The theatre is located on the ground floor of the Packard Campus of the National Audio-Visual Conservation Center 19053 Mount Pony Rd. Culpeper Virginia. The program of films is subject to change without notice. The Packard Campus was made possible by the financial support from Packard Humanities Institute (PHI). The facility with a construction cost of more than $150 million represents the largest-ever private gift to the Library of Congress and one of the largest ever to the federal government. A public component of this 415 000-square-foot facility is the theatre which showcases state-of-the-art archival projection capability for nitrate film 35mm 70mm and modern digital cinema featuring the highest sound quality.
“The creation of the theatre was a labor of love for David Woodley Packard (president of PHI) ” says Gregory Lukow chief of MBRS. “He is a true believer in preserving the American cinema heritage and preserving the classic exhibition experience.”
Library of Congress www.loc.gov ,292
Projectiondesign introduces the cineo32 Production Specific DLP Projector,2008-09-09,Norwegian projector manufacturer projectiondesign previewed the first prototype of their cineo32 production specific projector to over 40 of London’s post-production and production community last month in Soho London. “In an effort to create a product that’s a perfect fit for the post-production environment we’ve worked very closely with the technical managers of leading post houses ” says Anders Løkke international marketing & communications manager at projectiondesign. “Their valuable feedback has been incorporated into the cineo32 projector and we’re delighted with the interest that the new product received from this launch event. We believe that the cineo32 will significantly benefit the post community in high definition digital cinematography VFX color correction and graphics work.” The cineo32 is a single-chip 1080p DLP projector offering high contrast and color uniformity. It features full 10-bit resolution a guaranteed REC 709 color space for accuracy and incorporates the latest version of BrilliantColor developed by Texas Instruments for improved performance. This allows the user to calibrate the projector to produce a perfectly accurate image either through external 1D and 3D LUT generation or through its unique RealColor color management suite. The cineo32 features the new VIDI lamp technology from Philips that reduces artefacts in the displayed image. An HD-SDI and SDI optional input module is available. The projector comes with a wide range of precision projection optics and is also portable enabling it to be used with the on-set viewing of digital dailies or rushes. To cater for the increasing use of 3D the projector is available in 2D and 3D stereoscopic versions. Paul Sutton director at Kaurus says “We are a specialist supplier to the video and audio industry and were delighted with the success of this event which saw a very high amount of interest from Soho’s major players in post-production. The cineo32 projectors were shown alongside the Quantel iQ system and Draper screen as well as Kaurus PP1 low profile active speaker system Hubble colorimeter with Kaurus’ Pro calibratorStudio software and HP DreamColour monitors.” projectiondesign www.projectiondesign.com AttachmentSize projectiondesign135de.jpg21.75 KB ,293
Vitec Group to Acquire Litepanels,2008-09-09, Litepanels has signed an agreement to be acquired by the Vitec Group supplier of products and services for the broadcast entertainment and photographic industries. Litepanels provides LED (light emitting diode) lighting systems for the television broadcast video and film industries. Its lighting products are a complementary addition to the Vitec Group Broadcast Systems Division which includes such brands as Sachtler Vinten Autoscript and Anton/Bauer.
Litepanels has developed an innovative range of LED on-camera and stand-mounted lighting systems which have gained broad acceptance with lighting and broadcast professionals. The company is backed by a strong patent portfolio and its award-winning products are used both on-location and in studio environments including installations at the White House press briefing room and on CNN's mobile broadcast studio. Additionally Litepanels recently delivered lighting systems to NASA for use in the International Space Station.
Litepanels' LED lights are beneficial due to their low power consumption low heat generation and wireless battery capability. The trend toward LED lighting is expected to continue to grow rapidly as lighting directors convert to this technology.
Based in North Hollywood California Litepanels was founded in 2005 by five partners with extensive hands-on lighting experience. All will stay with the company and continue their operational responsibilities. Litepanels partner Ken Fisher says “We are certain that this new strategic alliance with The Vitec Group will allow us to continue to bring the most innovative products and technology to our customers and dealer network.”
Joop Janssen chief executive of Vitec Group's Broadcast Systems division says “We are really excited to welcome Litepanels' entrepreneurial team of professionals to the Vitec Group. Litepanels will give us the best LED lighting products in the industry and we all expect LEDs to be the future in broadcast and film lighting.”
Litepanels www.litepanels.com The Vitec Group www.vitecgroup.com ,294
Sand Creek Massacre Documentary to be Featured in Native American Festival,2008-09-09,The Film and Video Center of the Smithsonian National Museum of the American Indian requested that the award-winning The Sand Creek Massacre documentary film be entered in its 14th Native American Film + Video Festival to be held in New York City March 26 - 29 2009. The festival features films and video productions of all genres from North Central and South America and Hawaii. It showcases productions by Native media makers as well as community projects broadcast productions and other works reflecting native perspectives and brings together participants from the four directions for screenings workshops and special events. All programs are free to the public. Award-winning writer/filmmaker Donald L. Vasicek who wrote directed and produced The Sand Creek Massacre says Since The Sand Creek Massacre documentary film project was made to inform educate and create awareness of American Native people and the genocide of them this invitation enhances the exposure of the Cheyenne and Arapaho cultures to all people and in turn helps ensure that they will never leave this earth. Vasicek is presently working on Ghosts of Sand Creek a feature film he also plans to make into a two-hour six episode mini-series/documentary film. Vasicek's SandCreekMassacre.net provides detailed information about the Sand Creek Massacre including witness accounts still images The Sand Creek Massacre award-winning trailer and documentary short. AttachmentSize sandcreeknews135pp.jpg21.15 KB ,295
Dolby Lowers Exhibitor Price of its Reusable 3D Glasses,2008-09-11, Dolby announced today that it has reduced the price of its reusable 3D glasses. Starting today exhibitors can purchase new Dolby 3D glasses at a US list price of $27.50 reduced from $39.
“The success of Dolby 3D around the world has enabled us to realize significant economies of scale. We are pleased to announce that our green reusable 3D glasses are now offered at a significantly reduced price ” says John Carey vice president of worldwide sales products and services Dolby Laboratories. “We highly value our exhibitor relationships worldwide and with this announcement we demonstrate our continued effort to improve the value of owning and operating a Dolby 3D Digital Cinema theater.” Last week Dolby announced that shipments of its 3D Digital Cinema units have reached more than 500 in 24 countries since its market debut less than a year ago. Dolby continues to add new 3D screens in North America and has emerged as a leading 3D solution in Europe and Asia.
“Dolby 3D has been recognized as the premium 3D digital cinema image presentation by the filmmaking industry—exhibitors and patrons alike. Theatres around the world are selecting our system to present the optimal viewing experience for digital 3D movies ” says Carey. “We are delighted with the success of Dolby 3D in regions such as China Japan and South America as well as Eastern Europe. Our numbers continue to grow steadily in North America and we welcome the many new exhibitors around the world to the Dolby 3D family.” While Dolby executives concede that RealD can currently
claim a bigger share of the 3D glasses market they note that Dolby has only been in the business for a year as compared to five years for their competitor. Page Haun the new senior marketing director for Dolby Digital Cinema says Dolby is delivering a premium 3D experience to exhibitors and their patrons and our market share is growing. Dolby www.dolby.com
LG Electronics Joins ETC at USC
