Screenvision Sprint Partner on Interactive In-Lobby Digital Signage Displays

Bookmark and Share

Tue, 08/11/2009 - 20:00 -- Nick Dager

Screenvision introduced new interactive lobby displays in hundreds of theatres last month. The displays feature a third party’s patented scanner technology that will enable marketers to offer theatre patrons rewards by engaging with the featured brand. Launching this new effort in the marketing arena was telecommunications giant Sprint. This partnership between Screenvision and Sprint also began last month. “Screenvision is continually committed to bringing marketers new and innovative ways that enable them to enhance the connection of their brands to the large movie going population ” says Michael Chico executive vice president sales and marketing Screenvision. “The movie going experience starts and ends in the lobby and we are very excited to partner with Sprint to introduce our latest unique offering during the height of the summer blockbuster season. This new lobby technology will truly provide marketers with another way to seamlessly integrate their brands into the movie going experience.” At Sprint we are constantly pushing our partners to offer new and innovative ways to help consumers engage with the brand ” says Simon McPhillips director of media Sprint. “Cinema is a growth area for marketers and Screenvision's solution enables customers to have a richer experience with the Sprint brand in an enjoyable manner. Plus Sprint customers are able to enjoy the benefits of the Now Network through the interactive kiosk.” Screenvision initially launched the interactive lobby displays featuring the scanner technology in more than 500 of its exhibitor partner theatres across the top DMAs including New York Los Angeles Chicago Philadelphia San Francisco Atlanta Washington D.C. Houston and Dallas. As the initial marketer to partner with Screenvision on this effort Sprint will utilize its technology – and the technology of the lobby display – to reward moviegoers who are Sprint customers. Moviegoers with a Sprint phone can text message a short code to a specified number that will be promoted on the display. Then these customers will instantly receive a text code on their device. When they hold up the code to the lobby display’s scanner they will receive concession and/or ticket discounts that can be redeemed and used at the theatre as well as the ability to download exclusive interactive games and content. Standard text messaging rates will apply for use of this promotion. Screenvision ,1176
UFO Moviez to Convert 1000 Screens in Andhra,2009-08-12,UFO Moviez has announced plans to convert 1000 screens to UFO's digital cinema platform in Andhra in the coming six months. The company recently digitized 55 theatres in Andhra Pradesh in a span of 10 days with the help of its franchisee Southern Digital Screenz India. This was a part of UFO's strategy to aggressively release the Telegu film Magadheera starring Ram Charan Tehja (son of Chiranjeevi) produced by Allu Arvind and directed by SS Raja Mouli. UFO Moviez marketed by Southern Digital Screenz India in Andhra has already converted more than 200 cinemas in the state in less than 50 days. In fact SDS has installed UFO equipment digitizing 750 theatres in last six months. SDS has made representations on behalf of UFO Moviez to various motion picture industry bodies viz. Chamber of Commerce The Film Nagar Club Several Production and Distribution Houses Telugu Producer's Council. Some of the forthcoming films on the digital cinema platform of UFO SDS are expected to be Junior NTR film Adhurs Nagarjuna's son Chaitanya starrer Josh Ravi Teja's Anjaneyalu and Vikram's Mallanna. UFO Moviez CEO - India operations Rajesh Mishra says We have tactically decided to launch ourselves coinciding with the release of the mega film Magadheera aggressively in Andhra Pradesh. The efforts of UFO SDS are to add more screens to provide the benefit of UFO digital platform to the theatre owners and the audiences. Southern Digital Screenz chairman Dr. Usman Faiyaz says We are thrilled with the level of activity in Andhra and astonished to have received over 200 applications for digitization in the last three months. We plan to covert 1000 cinemas to UFO's digital cinema platform in Andhra in the ensuing six months. This increasing demand for digitalized screens goes to prove that Indian audiences have started valuing timely and quality movies watching experience. UFO Moviez currently has over 1500 installations across the country receiving movies delivered to them via satellite. ,1179
UltraStar Cinemas Installs Digital Signage,2009-08-12,UltraStar Cinemas has installed digital menu boards on concession counters and box offices. Corn Digital provided the systems. “Our new digital menu board system presents well designed content that the motions really attracting movie goers’ eye balls ” says Kevin Stengle an executive for UltraStar Cinemas. “We have seen unexpected success in promotions of special items at several locations and were forced to turn of some of those digital signs for run out of stock.” At some of UltraStar’s new theatres customers are first greeted by two Ceres-200N 20-inch network signage at the entrances showing movie schedules pricing and special event information. Once in there are an array of 42-inch and 20-inch LCD displays showing movie trailers and dynamic menu board contents. People will also see digital movie posters before they enter for the main attraction. Corn Digital ,1180
X Games: The 3D Movie Premiere Called a Success,2009-08-12,Xpand collaborated with ESPN and Walt Disney Studios Motion Pictures at the premiere of X Games: The 3D Movie the first sports-themed 3D film. The event was held last month at the Nokia Theatre. “It was extremely exciting to have been chosen by ESPN and Disney for the Los Angeles premiere of X Games 3D the Movie ” says Xpand’s CEO Maria Costeira.  “This is a triumph for 3D sports entertainment and it seems that X was the broader theme of the event. We couldn’t have asked for a better combination of brands.  We continue to appreciate Disney’s support of the active technologies while working together in a progressive 3D culture.” During the entire week and throughout the weekend of the actual X Games events which were held simultaneously at the Staples and the Home Depot Centers Xpand’s X101 Series 3D glasses could be seen at the various interactive display areas where the movie trailer was being presented in 3D to all X Games attendees.  It was estimated that more than 10 000 people got to view a sneak preview of the X Games 3D movie over the course of a few days which audiences were giving rave reviews.  ,1181
SMPTE Opens Registration for Fall Conference,2009-08-13,Making it easier than ever to participate in one of the premier annual events in the media content and motion-imaging industries the Society of Motion Picture and Television Engineers has announced the official opening of attendee registration and the launch of a pre-event registration Web for its Annual Tech conference and expo. This year’s event takes place from October 27-29 at the Hollywood Renaissance Hotel in Hollywood California. There will be a high-profile keynote speaker; leading media software and display experts; exhibits; and professional networking events – including a special reception and screening sponsored by Warner Bros. A special seminar – Advanced Media Workflows and MXF  – produced by the Advanced Media Workflow Association will precede the conference and expo on October 26. The conference and expo will also feature numerous technical sessions to address key industry issues and opportunities. Led by industry experts session topics range from the latest developments in display technologies and advances in digital monitoring/control audio and networking to 3D content distribution and stereoscopic production techniques. “Our Annual Tech conference and expo amplifies SMPTE’s ongoing leadership efforts to provide technology education and information that advance and expand critical industry revenue-generating opportunities such as high-definition production digital cinema and stereoscopic 3D cinema and 3D television ” says Kimberly Maki executive director of SMPTE. “This year’s conference and exposition are no exception. We look forward to seeing our colleagues from across the media content and motion imaging industries this fall.” Event sponsors for the 2009 conference and expo currently include Azcar Photo Research Sony and Warner Bros. A complete list of the sessions is available at ,1183
Scenewise Launches Version 2.0 of Educationally Enhanced Film,2009-08-13, Scenewise has launched version 2.0 of its proprietary educationally enhanced Film format ee Film has officially launched version 2.0 which the company says enables documentary filmmakers to convert their passion into revenue.
 The educationally enhanced Film format involves the identification of films that have inherent educational value (teachable moments) and combines them with the integration of standards-aligned supplemental teaching materials – lesson plans classroom activities interactive learning tools etc. – into the film experience. The ee Film treatment was first applied to the Academy Award nominated film Super Size Me.   The Super Size Me educationally enhanced edition DVD was honored at the Leonard Maltin DVD Awards with the trophy for Best Documentary DVD. Version 2.0 has streamlined the process. Foundations fund many documentary films and the willingness to fund and/or the magnitude of funding may be related to the availability of metrics which can measure the outcomes attributable to the film.   NextGen films will provide simple and measurable means to join volunteer and/or contribute to preferred organizations along with other data assessment options. Scenewise ,1185
Carmike Cinemas Signs Agreement to Open 12-Plex in Opelika Alabama,2009-08-29,Carmike Cinemas has signed a definitive agreement with Blackrock principal Stephen Benson to build a 12-screen theatre with 2 600 seats to be located in the Capps Landing development in Opelika Alabama. The build-to-suit arrangement features a new Carmike digital entertainment complex. Tiger Town is a 160-acre development featuring 800 000 square feet of retail space and combined with Capps Landing offers restaurants offices hotels and banks. Carmike’s other theatre in the region – the Wynnsong 16 in Auburn – will remain open following the completion of the new 12-screen theatre. The new theatre will also serve the nearby Auburn University community which is home to approximately 24 000 students. Carmike president and CEO David Passman says “We are grateful for the support of the community of Opelika Mayor Fuller and local officials for their efforts as we bring a state-of-the-art entertainment complex to the Tiger Town area. Our new theatre complex will bring the best in Hollywood entertainment and the most advanced digital and 3D exhibition technology to East Alabama and will create new jobs both through construction and employment upon its opening targeted for next Fall.” ,1194
CEA Confirms Plans to Establish Digital Funding Group,2009-08-29,The Cinema Exhibitors’ Association has confirmed plans to establish a digital funding group to negotiate financial support for small and medium-sized UK cinema operators to convert to digital cinema technology. The announcement follows an earlier exercise to identify the potential size and nature of such a grouping. CEA chief executive Phil Clapp says “The ‘expressions of interest’ exercise we have run over the last few months together with feedback received during the recent program of digital road show events delivered jointly with the UK Film Council confirm that there is an absolute desire on the part of UK cinema operators to embrace digital technology. But many also recognize that they are extremely unlikely to be able to secure funding deals to allow them to convert on their own. We strongly believe that the proposed funding group may be the only option to achieve this for a significant majority of small and medium-sized cinema operators.” “Preparation for the digital transition is now well underway and it seems inevitable that 35mm prints will become increasingly difficult and expensive to source in the medium term and certainly at the point at which the major circuits – digital plans for all of whom are well advanced – have converted ” Clapp says. “So far companies and organizations representing over 450 screens have indicated a willingness to be involved in the funding group. But that still leaves another 600 or more screens outside of the major circuits which stand little or no chance of finding financial support without additional help.” He says “We have shown the seriousness of our intent with today’s announcement. I am grateful in particular for the larger companies represented on the CEA Executive Board and to colleagues at the UK Film Council for their support in this. I urge all of those small and medium-sized cinema operators who have not yet done so to show similar commitment and to join us in this hugely important endeavor. Over the coming weeks we will be looking to appoint someone to put in place the foundations for establishing the group and to begin looking at what might be possible. While we cannot guarantee that we will be able to help everyone who wishes to convert I am very optimistic that this is a significant further step towards securing a digital future for a large number of UK cinema operators.” Welcoming the announcement Peter Buckingham head of distribution and exhibition at the UK Film Council says “Securing film’s successful transition to digital is the UK Film Council’s top strategic priority for the years ahead – it is vital if we are to meet the needs of film-makers and the demands of audiences. As far as possible no existing 35mm cinema should be left behind in this transition. We therefore congratulate the CEA on its vision and offer our whole-hearted support in backing this new organization which will be of enormous help to smaller operators as well as the wider UK cinema sector.” A further announcement regarding the establishment of the funding group will be made in due course.   Exhibitor enquiries should be directed to: ,1195
Cinedigm Secures Infusion of Capital from Sageview,2009-08-29,Cinedigm Digital Cinema has completed a $75 000 000 private placement of securities to Sageview Capital consisting of a senior note due 2014 and a warrant to purchase common stock. According to Cinedigm the capital infusion significantly strengthens the company’s balance sheet extends debt maturities provides capital for the company’s continued growth and introduces a key long-term investor into the shareholder base.   Under the terms of the transaction the principal has an interest rate (subject to potential adjustments) of eight percent per year to be paid in kind and seven percent per year to be paid in cash. The new senior notes have a five-year term with a scheduled maturity date of August 11 2014 (subject to potential extension). In addition the company issued to Sageview a seven-year warrant to purchase up to 16 000 000 shares of Class A common stock of CIDM at an initial exercise price of $1.37 per share representing approximately 35.3 percent of the company’s fully diluted shares outstanding pro forma for the closing of this transaction and a 38.4 percent premium to the CIDM closing price on August 10 2009. The company also appointed Ned Gilhuly a managing partner of Sageview to its board of directors immediately and subject to shareholder approval will add a second designee of Sageview as a director following its upcoming shareholder meeting. Gilhuly says “We are excited to be investing in Cinedigm and we are confident that we can help the Company take advantage of the growth opportunities ahead. We believe the transformation of the theater exhibition industry from film to digital presents a significant and imminent opportunity and that Cinedigm has laid the groundwork to be a major beneficiary of that transition. Cinedigm has an attractive mix of predictable cash flow from the virtual print fees generated by its Phase 1 deployment as well as distribution and other services businesses that should grow significantly with the digital cinema roll out. We look forward to working with Bud Mayo and his management team to help the Company achieve its potential.”   Mayo chief executive officer of Cinedigm says “We are thrilled to have Sageview as a strategic investor and Ned as a board member of our company and we are pleased that Sageview has recognized the unique capabilities and growth potential that Cinedigm has to offer. This investment significantly strengthens our balance sheet and provides additional financing for our continued expansion.  The new senior notes have a maturity in 2014 after the retirement of our Phase 1 debt and allow us to expand the covenant cushion on our Phase 1 subsidiary’s credit facility by pre-paying some of its outstanding principal.  Furthermore this new capital provides additional funding to help support continued execution of our business plan to drive transformation in the theatre industry to digital.” Imperial Capital acted as Cinedigm’s financial advisor and placement agent.   Cinedigm Sageview Capital   ,1196
Deep Explorers Document the Graveyard of the Atlantic,2009-08-29, This summer in cooperation with the National Oceanic and Atmospheric Administration Office of the Marine Sanctuaries and Rutgers University Institute of Marine and Coastal Science Deep Explorers documented the wreck of the USS Monitor a U.S. Navy warship that has been resting 230 feet down on the bottom of the Atlantic Ocean for more than 150 years. The company produced a series of video segments entitled Graveyard of the Atlantic which were posted on the NOAA website during the expedition. A Sony PDW F350 XDCam camera paired with a Fujinon XS13x3.BRM lens served as the primary topside camcorder for recording interviews and stand-ups of divers and scientists conducting research of the wreck and its surrounding marine habitat. The team opted for Sony HVR-Z7U HDV camcorders in Amphibico as the primary underwater camera rig. All footage was edited on location using a combination of Apple Final Cut Pro and PC based Adobe Premiere Pro CS3.
  “Audiences of natural history documentaries have come to expect extraordinary footage. Outfitting our topside camera with the XS13x3 BRM Fujinon lens gave us stunning pictures ” says Deep Explorers executive producer Dan Crowell. “We were thrilled at the picture quality when we first began shooting and the ultra-sharp Fujinon glass produced stellar results. We also found the lightweight lens performed well in low and changing light conditions.” 
  The videos chronicled the unique challenges that were part of the expedition 16 miles off the North Carolina coast. According to Crowell conditions were often far from ideal during production. At some points dive conditions were too treacherous to allow exploration of the wreck. 
 “There were times when we could not dive so we had to make the most of our topside segments ” Crowell says. “The weather was an obstacle for much of the week so the segments shot with the Fujinon lenses were thrust into the forefront.” 
At just 15x8 feet the confined space of the boat deck could have been an obstacle but the Fujinon wide-angle lens was able to capture the action. “The Fujinon XS13x3.3BRM allowed us to shoot on a relatively small boat and make it appear much larger ” Crowell says. “We got extremely positive reactions from viewers as well as from people who were with us on the boat.” ,1199
Entries being accepted for 43rd Annual WorldFest-Houston Film Festival,2009-08-29,Entries are now being accepted for the 43rd annual WorldFest-Houston film festival to be held April 9-18 2010. Early bird entries which qualify for a five-dollar discount per entry run until November 15th. January 15th 2010 is the final day to enter. As the organizers like to note WorldFest-Houston is one of the longest running film festivals in the world. It was started before there was Sundance or SXSW and before there was Toronto or Tribeca. It bills itself as the First Film Festival in the South and the third oldest International Film Festival in North America. The festival has helped launch the careers of several well-known filmmakers including Steven Spielberg George Lucas David Lynch Ang Lee Brian DePalma Oliver Stone Gavin Hood Jonathan Demme and The Coen Brothers all of whom won early honors at WorldFest-Houston. More information can be found on the festival website at ,1202
Paul Haggar to Receive HPA Lifetime Achievement Award,2009-08-29, The Hollywood Post Alliance Awards Committee has announced that post-production icon Paul Haggar will receive the organization’s Lifetime Achievement Award during the HPA Awards in November. Haggar was one of the best-known names in the post-production community and retired from Paramount Pictures in 2005.  He had a notably long studio career heading theatrical post-production at the studio from the Seventies.  Haggar was a part of the Paramount family for over 54 years. Leon Silverman president of HPA says “For decades the name Paul Haggar was synonymous with post-production. It is no exaggeration to say that Paul kept us all on our toes. He demanded the best and got it from his post-production team and his vendors.  He was a master at balancing the creative and the business as he was always a tenacious advocate of both the filmmaker’s vision and the studio’s needs. His accomplishments cannot be minimized and this Lifetime Achievement Award recognizes his undeniably significant contribution to our industry.” Born in Brooklyn Haggar’s family moved to Los Angeles in his youth. Through a family friend he was hired in the Paramount mailroom a move that set his career in motion.  Haggar rose through the studio ranks from mailroom to apprentice editor and eventually to executive vice president of post-production for feature films a post he held for over 20 years. Known as a fierce defender of the projects he worked on and of the studio he worked for he oversaw the post-production of hundreds of films including Oscar winners and those recognized as the most important of the era.  His credits include: Love Story Chinatown The Godfather Reds Heaven Can Wait and many more.  In 1987 a building on the Paramount lot was renovated for editing and fittingly named in his honor The Haggar Building.   He was and is a tireless fundraiser for charities including the Vision Awards which he chaired and Hollywood Has Heart a charity of the American Heart Association where he has been honored for his long support. Launched in 2006 The HPA Awards recognize the contributions of the talented men and women of the post-production industry and who are a pivotal part of the creative process. HPA Awards ,1203
Maya Entertainment Presents Eight-Picture Film Series,2009-08-29,Maya Entertainment a Los Angeles production and advisory company specializing in independent films recently joined forces with Blockbuster to present Latin cinema from acclaimed filmmakers and star talent in major U.S. markets through the Maya Independent Film Series. Visual Data provided the digital cinema packaging for the release. The series included an eight-city theatrical release of a curated slate of eight Latino-themed films reinforcing Maya Entertainment's mission to provide innovative platforms for the theatrical release and showcasing the films to a national audience. The Maya Independent Film Series runs in Landmark Theatres in six locations and Cobb Cinébistro in Miami.  The series launched on July 17th and runs through September 10th. When it came time for Maya to prepare for the DCP requirements for their series they turned to their long-time collaborators at Visual Data.  Kristi Alires Vice President of Home Entertainment for Maya Entertainment noted that We have been working with Visual Data for contract fulfilment and other services and we knew that if they took on the DCP packaging we'd be in great shape.  We were right.  They are diligent adept and possess all of the technical and creative skills required to deliver these files perfectly.  We wanted the festival to be free of any technical issues and to look as great as possible and Visual Data helped us accomplish that. The move to Digital Cinema Packaging was a natural one for the Burbank stalwart says John Trautman CEO of Visual Data because it ties in with the end-to-end service philosophy of the company.  We strive to stay ahead of our clients' needs. When we analyzed the knowledge and skill-set required to provide state of the art DCP services we quickly saw that we had everything needed. Visual Data was already a first rate source of versioning editorial duplication closed captioning DVD authoring and encoding.  This is a natural next step for our studio contract fulfillment and independent film customers and we were eager to keep our full service position in place.  A DCP master is a great launching point for many other deliveries and enables content owners to move swiftly and accurately.  We are ready and able to support that need. The Maya Indie Film Series visit: Visual Data ,1205
Mr. X Delivers Visual Effects for Ang Lee’s Taking Woodstock
,2009-08-29, Toronto post house Mr. X created visual effects for director Ang Lee’s Taking Woodstock which opened in theatres last month. Based on Elliot Tiber’s autobiographical book the film is a coming-of-age story set in the social upheaval of 1969. The narrative follows the progress of a young man returning home to help out at his parents’ motel in upstate New York. There he becomes involved in organizing the seminal Woodstock concert. Mr X completed visual effects for the film including faithful recreations of the concert venue as it takes shape and a visually stunning 10-minute acid trip sequence.

 VFX supervisor Brendan Taylor led a team of 45 artists at the Mr. X facilities in Toronto and Montreal over a period of eight months delivering 138 shots on the project. Previously Taylor had collaborated with Ang Lee on Lust Caution for a series of detailed shots recreating WWII-era Hong Kong and Shanghai. The work was completed at Mr. X in 2007. “I do a lot of research for sequences like these. I want to find out everything I can about the time and place. Getting the details right does a huge amount to set the mood for a film ” says Taylor. “At Mr. X we’ve created a unique environment where we engage with the filmmakers ” says company founder Dennis Berardi “Our team leaders work with the director to interpret and understand the work. That vision permeates the culture here for the time that we’re on the job and informs our work both technically and artistically.”

 One of the film’s most memorable moments depicts an LSD experience. Julian Sancton in Vanity Fair called it “the best visualization I’ve ever seen of an acid trip.” Movieline says it is “a stunner [with] overlapping pastel lighting effects green-screen animation shifting film speeds lens trickery and undulating CGI…”

“LSD affects each of the five senses ” says Taylor “and we needed to portray this overwhelming experience using visuals alone.” The acid trip begins with the main character Elliot inside a van mesmerized by a painting which appears to come alive as he watches it. 

“We wanted the ‘trip’ to come on slowly – to gently coax the audience into the hallucinogenic experience ” said Taylor. “In our research we found that one of the common things users describe is a definitive ‘pulsing’ when they are on acid.” The team at Mr. X used this pulsing effect on the colors in the painting. At first the colors start to move very subtly. This was accomplished by keying out individual colors – red turquoise or yellow – and then rhythmically applying carefully calibrated displacements on them.

There were three different visual motifs within the acid trip sequence. First there is the scene with the painting in the van. Then Elliot leaves the van and the effects of the drug really begin to take hold. Finally we come to the climactic scene where the concert stage transforms into a giant nebula that spins out towards the audience.

“ It could be argued that this is an acid trip so the rules of optical physics don’t apply ” says Taylor. “But we felt that if the imagery wasn’t rooted in reality the audience wouldn’t believe it.”

The night scenes during the acid trip made use of a water shader written by Jim Goodman a member of the programming team at Mr. X. “It was very effective – especially for adding reflections which enhanced the otherworldliness of the images ” Taylor says.

 The nebula shots presented a number of challenges for Mr. X compositor Kris Carson. “Ang emphasized that these images had to feel organic. Kris had to assemble 100 disparate elements. Each element and the way it interacts with its surrounding elements is incredibly complex. Yet when looked at as a whole there is a beautiful simplicity to it.”

As the main actor moves about this drug-induced wonderland he was shot at 48 frames per second. These shots where then slowed to 36 frames per second “just to make it feel a little slower than life but not quite” while the hills around him undulate with the crowds “riding” them.

“I am really proud of the acid trip sequence ” says Taylor. “Ang wanted something that was an ecstatic revelation not something frightening. This is a key moment in the story arc for the lead character’s personal development. Ang wanted to bring the audience right into Elliot’s experience and to feel that they were on an acid trip themselves.” During preproduction for Taking Woodstock Taylor joined Ang Lee scouting locations in New York. The actual site of the concert was not available and even if it had been it no longer looks the same as it did during the summer of 1969. “We were involved pretty early on which is very much the model for Mr. X in general ” says Berardi. 

The concert venue is presented three times during the film. The audience first sees it in its undisturbed rural splendor. The second time the site appears it is undergoing a transformation as the stage and concert infrastructure are being constructed. Finally it appears as it looked during the three-day concert drenched in rain and awash in mud. “Each of these moments reflect the stages of the main character’s own growth ” says Taylor. “The director wanted the final concert venue scenes to be reminiscent of Vietnam the defining conflict of that time.” 

Recreating the site required a wealth of historically accurate detail especially with respect to the crowds who numbered in the hundreds of thousands. To create the throngs of hippies at Woodstock the artists at Mr. X used a combination of an in-house particle-based Houdini script and a library of crowd footage which Taylor had shot in front of a green screen. 

 “Ang wanted a very natural-looking historically correct take on this. He didn’t want it to look synthetic in any way. But of course this is a work of art so not only did we need to be photoreal we also had to be believably stylistic in the context of the director’s intentions for this film ” says Berardi. “Digital work needs to respect the photographic elements so that it fits seamlessly with the director’s narrative weave.”

Focus Features’ Taking Woodstock directed by Ang Lee stars Demitri Martin Dan Fogler and Jonathan Groff. Taking Woodstock opened in theatres August 28. Along with the facility’s work on Taking Woodstock Mr. X provided visual effects on Ang Lee’s previous film Lust Caution and recently completed work for Fast and Furious. ,1206
OConnor Introduces 120EXe Fluid Head,2009-08-29,OConnor Engineering has introduced the 120EXe Encoded Heavy Duty Fluid Head designed to provide high-precision pan and tilt position information for cinema quality visual effects production on feature films and commercials. The new 120EXe is being premiered by Mo-Sys in conjunction with Mo-Sys’ latest camera motion capture system. The 120EXe provides absolute output pan and tilt position information via an external 19 pin Fischer connector. Mo-Sys provides a companion encoder box for the 120EXe which allows high-resolution pan and tilt data of 1.8 million counts per revolution to be output from the head making it suitable for film and HD formats. When the 120EXe is coupled to the Mo-Sys Motion Logger it instantly becomes a powerful camera mocap system for use in post-production.  When used with the Mo-Sys 3D Inserter it also allows real-time previsualization of live action and CG compositing on set. The e-version of OConnor’s established heavy-duty 120EX fluid head features built-in encoders and does not requires bolt-on assembly of other hardware. Like the 120EX the 120EXe can support up to a 120 pound (54 kilogram) camera package through the head’s entire tilt range of plus-or-minus 90 degrees and can counterbalance up to 240 pounds (109 kilograms) through a tilt range of plus-or-minus 60 degrees (payload weights based on an eight-inch center of gravity). Mo-Sys OConnor ,1207
Screenvision Bow Tie Cinemas Announce Long-Term Agreement,2009-08-29, Screenvision has announced a new long-term agreement with Bow Tie Cinemas owners and operators of deluxe first-run cinemas designed to bring style and elegance back to the movie going experience. The partnership drives Screenvision’s overall screen count to 15 332. “Screenvision and Bow Tie’s partnership clearly demonstrates exhibitor demand for our network including the strength and entertainment value that comes with our digital preshow ” says Darryl Schaffer executive vice president exhibitor relations Screenvision. “This deal brings an excellent exhibitor partner to Screenvision’s growing digital network in top markets across the U.S. while also heightening moviegoers’ in-theatre experience through music videos behind-the-scenes and more.”
 As part of the agreement Screenvision holds exclusive screen advertising sales representation rights for Bow Tie’s early and late pre-shows. The deal also provides Screenvision with the rights to sell in-lobby screens and promotions. Bow Tie Cinemas has a large stake in screens across top markets nationwide with 67 percent in the top 20 DMAs including New York Denver and Baltimore.

“ The top notch quality and compelling content within Screenvision’s digital preshow along with their reputation as leaders in technology and service within the cinema advertising community have made Screenvision a natural partner for Bow Tie ” says Joseph Masher CEO of Bow Tie Cinemas. “We anticipate that this new deal and the digitizing of our screens will lead to a more rewarding entertaining and high quality experience for all our moviegoers.”
 Bow Tie Cinemas Screenvision ,1208
Alabama’s Sidewalk Moving Picture Festival Runs September 25-27,2009-08-29, The 11th annual Sidewalk Moving Picture Festival sponsored by the Alabama Moving Image Association is being held September 25-27 in downtown Birmingham. The festival will feature over 150 films at six locations throughout the historic theatre district.
According to Chloe Collins AMIA’s new executive director the festival draws over 13 000 filmmakers and film lovers over the course of the weekend. Programming for the festival runs the gamut from feature length narratives to animated shorts and Sidewalk even programs for the youngest audiences with the Children’s Film Extravaganza which takes place at the McWane Center.
“Sidewalk offers film for every taste and a fun environment for both serious film buffs and casual moviegoers. With over 150 films panel discussions kids events workshops and a full weekend’s worth of parties this is an event the entire community should be excited about ” Collins says.
 Sidewalk Moving Picture Festival ,1209
SMPTE Launches Executive Director Search,2009-08-29,The Society of Motion Picture and Television Engineers has launched a search for an executive director. SMPTE has appointed a search committee to identify potential candidates for the position. It expects to complete its search by the end of the year. Former SMPTE executive director Kimberly Maki concluded a three-year term of service with the standards organization to take a senior executive position with Bright House Networks. “Kimberly has been an advocate worldwide for the advancement of the engineering profession on a strategic leadership level. Our job is to find someone who – as Kimberly did so successfully – can continue to lead SMPTE forward as the role of digital technologies become greater and new applications and markets proliferate ” says Kenneth C. Fuller president of SMPTE. SMPTE ,1210
Technomedia Acquires VRT Enterprises,2009-08-29,Technomedia has launched TMS Digital Cinema and has acquired privately held VRT Enterprises of Miami Florida a provider of digital cinema engineering services and product development to the emerging digital cinema market for years. Ray Callahan founder of VRT will take the position of senior vice president of digital cinema operations and technologies under Joni Snyder vice president and CFO of Technomedia Solutions. John Miceli president of TMS Digital Cinema and parent company Technomedia Solutions says With Ray's extensive 25-plus years of experience in engineering services and product development for the cinema industry he is a world-class addition to the outstanding TMS team. Lance Jones industry veteran in marketing cinema services will lead the sales efforts for TMS Digital Cinema as the senior vice president of business development and sales. Technomedia Solutions ,1211
Digital Jungle Offers Enhanced 2K Telecine System ,2009-08-29,Digital Jungle is now offering enhanced 2K telecine transfer services. Dave Walker the facility’s new chief engineer enhanced the capabilities of the Cineglyph telecine specifically for Digital Jungle.  He is also the creator of the system which is used worldwide in motion picture post-production. Digital Jungle's 2K Cineglyph is capable of scanning 2K at 15 fps for short turnaround which is faster than the usual 2 to 4 frames per second of most other scanners. Any film perforation format such as 2 3 4 perf can be accommodated as well. This is a huge enhancement for our facility and our clients says Digital Jungle president Dennis Ho. Dave Walker has taken the monotony out of 2K scanning. Walker is a 20-year veteran in the Hollywood post community having worked as an engineer at various facilities including Image Transform AME VDI and ADS before starting his own engineering and manufacturing company Digital Audio & Video DAV where he created the Cineglyph Telecine system. Walker has five patents for motion picture telecine technology and several of the products his company manufactured were OEM'd to another telecine company.  He sold his company DAV in 2005 and joined Digital Jungle as chief engineer this year. Digital Jungle ,1212
Oscar Winning Filmmaker looks back at Woodstock,2009-08-29, The iconic music event Woodstock was relived on television last month in time for the festival’s 40th anniversary when both the VH1 and History networks aired the premiere of Woodstock: Now and Then a new documentary from Academy Award winning director/producer Barbara Kopple. The documentary merges film footage from the original Woodstock movie with new HD interview footage recorded on the Sony cameras. Kopple chose the Sony HVR-Z7U and S270U HDV camcorders for their high-quality imaging and versatility especially in changing shooting conditions from natural light to low light. “We’re documentary filmmakers; we shoot in every possible environment ” Kopple says. “In the span of minutes we’d be shooting a concert performance in the back of a large and well-lit club on sticks and then have to make adjustments for hand-held shots in low-light backstage corridors. The Z7U and S270U are so versatile there isn’t much they can’t do.” The new documentary looks at Woodstock from various perspectives: fans who gathered for the three-day concert the musicians who played and the festival organizers and promoters who put it all together. The compact size of the handheld Sony Z7U created a comfortable environment for subjects being interviewed about their Woodstock experience. According to Kopple “When it came to close-ups of Woodstock veterans reminiscing about how important the festival was to them these cameras allowed us to capture warm and revealing footage.” The shoulder-mount 270U added a perfect complement for longer shooting times that would have been difficult with a compact handheld camera. “When we knew we'd be shooting all day and night we turned to the Sony 270U ” she says. “Being able to get the same great images and not force our shooters to hold the camera with their arms all day proved really helpful in conserving energy and being able to shoot for long periods of time.” Kopple had to integrate several different film formats of historic footage with the HDV content they shot but she added that she was consistently happy with how the new footage looked side-by-side with the archival materials they received. “It was never a concern that playing both film and HDV would be jarring for the viewer because they look like the same movie ” she says. “These cameras give a wonderful ‘film’ look that's crisp but never cold. Being able to switch out lenses is a wonderful feature that gave us a tremendous amount of options when we were planning for multi-camera shoots during concert performances and wanted a range of different kinds of images.” ,1213
Barco Partners with Strong for Nationwide Digital Cinema Installation Services,2009-09-11,Barco has signed a one-year renewable non-exclusive agreement professional services agreement with Ballantyne Strong to provide Barco with digital cinema projection service and support including but not limited to on-site installation and service as well as ongoing maintenance services for Barco's U.S. customers. “The service agreement with [Ballantyne’s] STS is part of Barco's desire to establish partnerships with the best providers servicing the needs of our growing install base of digital cinema projectors and associated servers ” says Filip Pintelon president of Barco’c media and entertainment division. “Given Barco's leadership in the digital cinema industry we are very excited to partner as their primary digital cinema service provider in the U.S. and deliver the broad array of specialized services required for the ongoing rollout of digital projection equipment ” says John P. Wilmers president and chief executive officer of Ballantyne. “Over the past year Barco has delivered a very high level of training and ongoing support for our field service technicians ensuring they have the cutting edge knowledge and experience to seamlessly install and maintain Barco's full line of digital cinema solutions. This agreement reflects both organizations' unwavering commitment to putting the needs of our customers first and we are excited about forging a strong long-term partnership.” “Ballantyne's Strong Technical Services group has demonstrated industry-leading expertise and a customer service orientation that echoes the commitment we make to each of our customers ” says Todd Hoddick vice president of digital cinema at Barco N.A. “We could not partner with a better group to execute on the growing variety of technology and services our customers require and we look forward to a long and mutually beneficial relationship.” Ballantyne Strong Barco ,1234
Final Deadline to enter the 2010 Big Sky Documentary Film Festival,2009-09-11,October 20th is the final deadline for submitting entries to the 2010 Big Sky Documentary Film Festival which will be held February 12-21 2010. The festival is expected to screen more than one hundred films including world and U.S. premieres classics and rare and experimental works on Montana's largest screen at the historic Wilma Theater in downtown Missoula Montana.   In addition to ten 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). Enter via at or download entry form in pdf format at Big Sky Documentary Film Festival ,1235
Blackmagic Design Acquires DaVinci Systems,2009-09-11,Blackmagic Design has announced the purchase of all assets of DaVinci Systems. This purchase means Blackmagic Design will now offer DaVinci Resolve DI color correction systems and DaVinci Revival film restoration products for sale worldwide. Blackmagic Design has also initiated a wide-ranging restructure of the DaVinci business. The new focus will now be on the DaVinci Resolve color correction and DaVinci Revival film restoration products. The company believes these products represent the future of color correction and film restoration and the company has many exciting ideas for future developments. DaVinci Resolve already has the power to handle complex color grades in real time even at native 4K resolutions and in stereoscopic 3D. These are the features that are vital on modern post-production workflows. To accelerate development DaVinci Resolve and DaVinci Revival engineering teams have already been expanded and further expansion is currently underway. Due to the age of the DaVinci 2K systems which were originally launched in 1999 Blackmagic Design will cease marketing 2K systems immediately. Support for 2K systems will continue and plenty of spare parts are available for customer repairs. Engineering will be dedicated to bug fix updates and small feature releases. Annual support contracts will also immediately cease and a new pay as you go system will be initiated so customers only need to pay if a fault occurs. Blackmagic Design believes this will save customers thousands of dollars of unused support payments. Customers can pay for any repairs required and purchase and repair of second hand DaVinci products will be supported when possible. I remember back in 1988 to the first day I started in post-production and was shown the telecine suite with DaVinci. I could not believe the quality of the images on the monitor and that was the moment I fell in love with high quality imaging and color correction says Grant Petty CEO Blackmagic Design. I worked hard to become a telecine engineer and for me it was the most exciting job in post-production. It's been a while since I was a telecine engineer however it's incredibly exciting to be back involved with DaVinci again! We have a lot to live up to and many fantastic ideas so it's a very exciting time. Blackmagic Design ,1236
ICTA Names Christie Manufacturer of the Year,2009-09-11, Christie has earned the 2009 International Cinema Technology Association Teddy Award as Manufacturer of the Year.  Dealers in the motion picture industry who are active members of ICTA vote the annual award.   The association praises Christie for its “progressive principles of product development providing dealers with services and up-to-date technical and sales information while supporting the status of its products without qualification.”   Christie won from a field of nearly 100 industry manufacturers.
ICTA was founded in 1971 and represents more than 180 manufacturers and cinema-related businesses worldwide.  It is the second time that Christie has won the award.
“It is a great privilege to be acknowledged as the best in the industry especially when it comes from your peers ” says Robert Sunshine executive director of ICTA. “Christie has earned that distinction for their achievements in digital cinema their exceptional service in the market place and for being on the cutting-edge of new technologies.”
 Christie President and COO Jack Kline who accepted the award at the recent ICTA convention expressed great pride in the recognition given to Christie.  He said “It is a great honor to win this award.  Christie’s success is a direct result of the efforts of our highly dedicated staff which continuously reaches out to its dealers to provide unparalleled support service and technological expertise that always exceed expectation.   Programs such as Christie’s Factory Certified training which dealers consistently rate as one of the best in the industry are the hallmark of our customer-focused approach.  Backed by our passionate and experienced staff our programs help set the standards of excellence in the industry.”
 Pictured: president of ICTA Jack Panzeca (left) and Scott Hicks of American Cinema Equipment (last year's Rodney Award recipient) present the Manufacturer of the Year award to Jack Kline (center) in Park City Utah. Christie Digital Systems  ,1237
Civolution Gets Contract to Track Venice Film Festival Video Packages
 ,2009-09-11, Civolution has signed an agreement for Eurovision Production Coordination to use Civolution’s broadcast monitoring service Teletrax to track all video packages that were produced during the Venice International Film Festival earlier this month. The packages were distributed to Eurovision members for use in TV news and arts programming.
“We are delighted EBU chose to extend its relationship with Civolution ’’ says Civolution CEO Alex Terpstra. “The broadcast intelligence provided by Civolution’s Teletrax service offers accountability and transparency for all Venice International Film Festival media stakeholders to measure their return-on-investment which is critical particularly in today’s economic climate.’’ 
  “We are very pleased to benefit from Civolution’s Teletrax service to monitor our worldwide distribution during the coming Venice Film Festival ” says EPC managing director Franck Choquard. “Being able to control video package usage and reporting it to the Festival’s sponsors is a key element of the communication solution we are promoting during this international event. Without Civolution’s Teletrax service it would be impossible to know the air-time usage of our packages and to report it to our sponsors.”
 Civolution ,1238
European Film Academy Opens Vote for People’s Choice Award 
,2009-09-11, Voting has begun for the annual European Film Academy People’s Choice Award. The event allows film fans across Europe to elect their favorite film and win a trip to the European Film Awards Ceremony. Every year when the European Film Academy invites its members Europe’s greatest film stars directors producers cinematographers screenwriters designers but also industry representatives and the international media to attend the European Film Awards. The People’s Choice Award sheds a spotlight on the people films are made for - the audience.
Winners in the past have included films like Pedro Almodóvar’s Volver Roberto Benigni’s La Vite e Bella Jean-Pierre Jeunet’s Amelie Peter Cattaneo’s The Full Monty and Wolfgang Becker’s Good Bye Lenin. The list of nominated films in available on the official event website. Film fans can now cast their vote on the official website and win a chance to attend the 22nd European Film Awards on December 12 in Germany’s Ruhr Metropolis European Capital of Culture 2010! The European Film Academy and EFA Productions present the People's Choice Award in cooperation with a network of media partners across Europe. The European Film Academy ,1241
Hollywood Post Alliance Announces Engineering Excellence Award Winners ,2009-09-11,The Hollywood Post Alliance has announced that three groundbreaking technologies have been honored to receive the organization’s respected Engineering Excellence Award.  The recipients were chosen following a lively and well-attended presentation and judging session late last month at LaserPacific Digital Theatre in Hollywood.   Created to showcase and reward inventors manufacturers vendors and companies for outstanding product or technology application offerings entries had to represent a significant step forward for the post-production industry and were open to any individual group or company meeting the submission guidelines.  Interest in the awards has grown steadily since its launch and this year saw a record number of entrants in the Engineering category. The winners of the 2009 HPA Award for Engineering Excellence are: DVS Digital Video Systems Clipster is a complete hardware and software turnkey finishing system.  Its hardware and software tools can be scaled and configured to meet specific digital intermediate finishing real-time RED workflow multi-format deliverable and DCI mastering requirements. Clipster’s unique hardware platform combines the flexibility of general purpose computing with custom designed image processing and acceleration hardware.  Uncompressed image processes up to 4K-resolution can be performed in real time. Clipster is the only single workstation system in the world that offers one-step faster-than-real time DCI mastering and real-time decoding and delayering of full quality RAW Red files. Erik Balladares general manager DVS says The Hollywood Post Alliance is comprised of the most brilliant members of the post community and has served as a longstanding beacon for our industry.  DVS is truly honored to accept this year's Engineering Excellence Award for our advancements with the company's flagship product Clipster.   Signiant Signiant’s Content Distribution Management software was developed to centrally manage secure accelerate and automate the movement of rich media content.  Through a web-based user interface all content transfers can be monitored secured and bandwidth utilization can be adjusted in real-time. Signiant’s workflow modeling engine employs a drag-and-drop method of linking components to create sophisticated sequenced workflows.  Signiant’s CDM software was first developed in 2000 and is used by hundreds of companies to manage the movement of rich media content for the media and entertainment industry. “We thank the Hollywood Post Alliance for this wonderful recognition for Engineering Excellence ” says Tom Ohanian Signiant’s chief strategy officer. “Signiant is dedicated to delivering world class solutions designed to solve the process automation needs of digital media content owners and we are thrilled to be named an HPA Engineering award recipient.” S.Two Corporation OB-1 Uncompressed Digital Recorder is a complete system for providing images from digital cameras to Post. Utilizing DPX based file recording using solid-state flash technology with metadata OB-1 is the smallest lightest uncompressed recorder. The OB-1 is compatible with all digital cameras that support SMPTE 292M or 372M Single or Dual Link HD-SDI.  The system provides for offline editorial deliverables dual uncompressed redundant archiving and integrated negative pull all with quality control points fully adaptable to post industry workflows.  The D.MAG system for post and archive has been used on Oscar winners official selections at Cannes and motion pictures around the Globe. “The team at S.two is proud to be honored by the HPA with an Engineering Award for our ground-breaking OB-1 solid-state on-board recorder for digital cinematography cameras ” says Steve Roach. In announcing the awards HPA president Leon Silverman says “The role of innovative technology in post production simply cannot be overstated; to put it simply it drives our industry. We saw a marked increase in entrants in the Engineering Excellence category this year and the quality of the competition speaks clearly to a superb caliber of engineering vision and talent in the HPA and in the community as a whole. The HPA Engineering Award honors those individuals and companies who have worked diligently and inventively to do something better and ultimately to support the elegant execution of a vision.  Companies like DVS S2 and Signiant propel the industry forward and their value is of vast importance to content creation.” Past winners of the Engineering Excellence Award include; Quantel for Pablo Stereoscopic 3D FastSoft for E Series Internet Accelerator Panasonic for AVC-intra 100 Video Codec Quantel for Genetic Engineering Digital Vision for DVO Image Processing Software MTI Film for Control Dailies and Sony for HDCam SR. The HPA Awards will be held on the evening of November 12th at the Skirball Cultural Center in Los Angeles.   The HPA Awards recognize the outstanding contributions of post-production professionals working behind the scenes in a number of categories including color grading/DI audio post production compositing and editorial for television feature films and commercials.   In addition to the Engineering Excellence Awards two additional special awards will be given during the Awards ceremony; Paul Haggar one of the best-known names in the post-production community will receive the HPA Lifetime Achievement Award and the Charles S. Swartz Award will be given for Outstanding Contribution in the Field of Post Production. Tickets for the gala event are on sale at ,1242
Offhollywood Bases Expansion on Red and Scratch Post 4K Workflows ,2009-09-11, After relocating their operations to a new state-of-the-art studio in SoHo during summer 2008 Offhollywood is expanding again adding a full new floor as a totally dedicated Red camera rental and service facility – the first such Red-authorized facility in the United States. Offhollywood will soon boast a much larger studio to include even more state-of-the-art digital services. Their commitment to Red is as strong as ever. “We purchased the first two Red One 4K cameras on the market and now have more than a dozen cameras in our rental inventory that are all constantly in use by us filmmakers and other production houses ” says Pederson. “Red has set the standard for digital cinema cameras and filmmakers realize the value of their product – portability for shoots ease of use immediate previews of shots on set faster post production workflow results comparable to 35mm and cost-effectiveness that’s a critical factor for every production.” 
 First Offhollywood is adding a new floor that is a fully dedicated facility for Red camera rental service and support the first such Red-authorized facility in the United States.  Their goal is to give filmmakers and producers shooting on the east coast quick access to Red parts and repair services if needed. “We have the cameras and now we have the ability to help keep filmmakers up and running during a shoot ” says Pederson.
A new Scratch DI theatre went on-line in August. “We are opening the doors to an all-new kick-ass Scratch theatre that includes Dolby sound 3D and projection for dailies DCPs and client review sessions as well as 35mm projection so that producers and directors can review the film-out version prior to mastering ” says Pederson. “Scratch gives Red users the ability to fine tune their films or projects in real time. With Scratch the colorist is working in real time to do the color grading and finishing so that Red users can immediately see the results of their changes as well as realize how their film will look on the big screen. This is a huge time saver as compared to what we view now as older technologies.” 
  “We got on board with Scratch as an early adopter ” says John “Pliny” Eremic partner chief operating officer and director of post-production at Offhollywood. “We determined that an all-data post workflow is the future of films TV and commercials.  We chose Scratch for its streamlined workflow stability data management tools real-time color grading and finishing for HD 2K and 4K. The Assimilate guys are continually updating the features within Scratch so it remains a rock-solid tool and very relevant to us for our future plans.” Among their film projects an Offhollywood highlight is the critically acclaimed Frozen River (writer/director Courtney Hunt 2008) which was produced in association with Offhollywood. It’s a prime example of an indie film that realized the quality results of an affordable digital post-production workflow in Scratch. The film has won numerous awards at international film festivals including the Sundance Film Festival 2008 Grand Jury Prize and Independent Spirit Award (2009) and was nominated for two Academy Awards (2009). 
With a focus on Red-Scratch productions Offhollywood currently has three high-profile films in the works — Rabbit Hole with Nicole Kidman Fair Game with Sean Penn and Naomi Watts and Twelve with Kiefer Sutherland Ellen Barkin and 50 Cent. The production packages bundle Red 4K digital cameras on-set Red Camera Tech/DITs Scratch-Red workflow technical support with dailies and Scratch digital intermediate post and finishing services. 
 Offhollywood CTO and co-founder Mark Pederson says “We excel at offering complete Red/Scratch workflows and services. As an early adopter specializing in these tools we are able to give filmmakers and producers powerful digital cinema technologies as well as the expert service and support needed today for state-of-the-art production and post-production. They’re able to more quickly turnaround films of exceptional quality using a cost-effective workflow. This dramatic change in filmmaking blows the doors of opportunity wide open for the vast spectrum of creative professionals.” ,1244
Ominiplex Starts Construction on Dublin’s Swan Cinemas,2009-09-11,Omniplex Irelands largest cinema group has unveil plans for its new concept three-screen 571 seat Swan Cinemas which is located in the Swan Shopping Centre Rathmines Dublin. Construction has started on the project which is scheduled to open this November. Swan Cinemas is the first cinema in Dublin custom designed for digital cinema. Showcasing the very latest 3D technology will give patrons an unparalleled movie going experience; Swan Cinemas is at the very forefront of the digital cinema revolution. Programming policy will cater largely for mainstream movies however digital facilities will allow for a more diverse and varied programming schedule considering the population mix within the Rathmines and wider Dublin 6 area. Commenting on the €3 000 000 investment Paul Anderson (Omniplex / Swan Cinemas managing director) says “Having pursued plans for a cinema in Rathmines for over 10 years we are delighted that at last the people of Rathmines and the wider communities of Dublin 6 will have a quality cinema on their doorstep”. Rathmines has been without a cinema since the closure of the Stella over five years ago. The entire Dublin 6 region has been underserved by cinema since before the closure of the Classic Cinema in Harold’s Cross (originally named The Kenilworth) in August 2003. The state of the art Swan Cinemas will be an invaluable tool in revitalizing the local area. Swan Cinemas ,1245
Burning in the Sun to Screen for Free,2009-09-11,Rooftop Films Solar One The Green Edge Collaborative and IFP will present the World Premiere of Cambria Matlow and Morgan Robinson's feature documentary Burning in the Sun on Saturday September 19. There will be no charge for admission. Presented outdoors at a solar energy center this exciting documentary follows a young man’s quest to start a local business building solar panels in his homeland of Mali—the first of its kind in the sun drenched nation.  Burning in the Sun was a 2008 IFP Documentary Lab Selection and the screening will be part of the 31st Annual Independent Film Week. Burning in the Sun’s 
26-year-old hero Daniel Dembele is equal parts West African and European and looking to make his mark on the world. A chance encounter while managing a café in Europe convinces him to return to his homeland in Mali and start a local business building solar panels—the first of its kind in the sun drenched nation. His goal is to electrify the households of rural communities 99 percent of which live without power. Burning in the Sun tells the story of Daniel’s journey growing the shaky startup into a viable company and of the business’ impact on Daniel’s first customers in the tiny village of Banko. Taking controversial stances on climate change poverty and African self-sufficiency the film explores what it means to grow up as a man and what it takes to prosper as a nation. 

Founding a small business is something that is deeply embedded in American and European culture a topic to which many can relate. But most have never seen this universal kind of effort take place in Africa traditionally marked out by the media as the land of the starving the war ravaged and the hopeless. In this portrayal of Daniel who undertakes a familiar effort in an unfamiliar environment the filmmakers attempt to open the door to what is possible in Africa and update Western cultural awareness with a profound dose of optimism. For directors Matlow and Robinson Daniel’s work shatters notions of the need for African dependence on outside aid and embraces the view that ultimately it is Africans who will develop Africa in their own way. Throughout the film expert interviews and voiceover narration are omitted in favor of giving space to both Daniel and the people of Banko to tell their own story in their own words. 

Strikingly beautiful and a revolution of ideas Burning in the Sun is not a typical portrait of Africa. Independent Film Week Rooftop Films ,1246
3D Entertainment Summit Announces 2009 Program ,2009-09-12, The 3D Entertainment Summit in association with Variety co-produced by Bob Dowling and Unicomm and presented by The Entertainment Technology Center has announced the conference program and topics for the 2009 event which will be held at the Hilton Los Angeles in Universal City September 16-17. This year’s combination of featured keynotes dynamic panel discussions one-one-one interviews and exhibits will focus on a multitude of topics including the financial impact of 3D on the entertainment industry the status of the digital cinema roll-out and top trends in 3D gaming.   “We are excited to welcome back the foremost experts and industry visionaries to discuss 3D’s impact on all aspects of entertainment ” says Bob Dowling Summit co-producer and conference chairman. “This year’s 3D Entertainment Summit will provide attendees with the closest look yet into a sector of the entertainment industry that continues to grow and evolve at a rapid pace.”
 “As the momentum of 3D continues to swell we are seeing aggressive positions being taken by all stakeholders ” says John Golicz CEO of Unicomm the event’s producer.  “We have seen the level of executive’s registering for the conference increase in stature of even last year’s program; while industry suppliers are rapidly signing for sponsorships to display never seen before technology.” The 3D Entertainment Summit will offer new topics at this year’s event including a discussion dedicated to the technology techniques and post production of 3D as well as a panel focusing on the emerging consumer electronic 3D opportunities for the home. The Summit will showcase unprecedented movie previews and surprises at its movie studio presentations that will take place each day.   ,1247
China’s Time Antaeus Partners with Christie on Digital Cinema Deployment,2009-09-12,Time Antaeus Media Group a Chinese digital cinema industry leader has selected Christie as its partner for its digital cinema deployment in China. This marks the country’s most extensive commercial effort and calls for the installation of 800 Christie CP2000 DLP Cinema projectors for select cinemas by the end of 2010. These projectors will be installed together with 800 Time Antaeus’ Montage CDCS2000 digital cinema servers. The collaboration between Christie and Time Antaeus began at the 2008 Beijing Summer Games’ ceremonies with the purchase of 120 Christie CP2000-ZX models. The CP2000-ZX digital cinema projectors delivered spectacular visuals throughout the event demonstrating their full flexibility in a non-cinema environment. After the ceremonies these projectors and Time Antaeus’ Montage CDCS2000 digital cinema servers were installed by CFG-Antaeus Digital Cinema Investment a joint venture of China Film Group and Antaeus Group in theatres across China. This marked part of the company’s digital cinema pilot. In August 2008 Christie and Time Antaeus were selected by CFG-Antaeus to provide another additional 400 units of digital cinema projectors and servers. “We selected Christie because they offer a range of proven entertainment solutions with remarkable image quality reliability and stability ” says Zhang Baoquan chairman of the board for Time Antaeus Media Group. “Most importantly we foresee their excellent service and undisputed success in the series of massive deployments around the world. This will certainly help us contribute to the growth of the digital cinema market in China. As a leading player in the local cinema industry we have contributed to the digital cinema infrastructure in terms of production and distribution. Now we have completed the digital chain by embarking on the digital exhibition platform. By advocating digital cinema deployments on a massive scale we hope to turn digital movies into mainstream popular culture that is readily available and affordable to the masses.” “China has always been an early adopter of digital cinema technologies ” says Jack Kline president and COO Christie Digital Systems USA Inc. “As early as 2001 the country started its nationwide film-to-digital transition. In addition to the state-level developments commercial market forces are now coming together to further spur the growth of digital cinema in the country. Time Antaeus’ massive rollout is the largest single commercial effort and places China at the forefront of the digital cinema evolution surpassing many other countries in the world. With its market of affluent consumers China demonstrates huge potential for the entertainment market especially for the cinema industry. These favorable market forces will continue to propel the explosive growth of digital cinema in the country.” “With eighty years of experience Christie is one of the pioneers directly involved in the early developments of the cinema industry ” says Lin-Yu vice-president Christie Asia Pacific. “With our extensive understanding of the cinema business and the success of massive deployments worldwide we’re pleased to extend our experience and expertise to theater owners in China and bring the digital cinema experience to a brand new level. We’re honored that Time Antaeus chose Christie for its second phase of digital cinema deployment. The excellent synergy between Christie and Time Antaeus during the 2008 Beijing Summer Games started a memorable working relationship and most importantly created an unforgettable visual experience witnessed by many around the world.” ,1250
Coming Soon – IndieFilm3D,2009-09-18,Stereoscopic 3D is creating opportunities for filmmakers everywhere. To help them succeed IndieFilm3D a new website coming later this year from Digital Cinema Report will have all the information filmmakers need to learn about the business of 3D especially its tools and techniques. We’ll keep you posted on developments as the launch date nears. ,1268
Arts Alliance Arqiva Satellite Beam La Vida Loca to Cinemas across France,2009-09-24,Arts Alliance Media and Arqiva Satellite & Media successfully delivered La Vida Loca directly via satellite to 19 sites widespread across the Circuit George Raymond Cinémas’ megaplex circuit. CGR Cinémas is one of France’s largest cinema chains. La Vida Loca was released in France on September 30th by Ciné Classics. The film was directed by Christian Poveda and produced by La Femme Endormie. The film was encoded and encrypted into a JPEG 2000 DCP file by AAM’s London-based digital content processing laboratory and then electronically sent over a dedicated network link to one of Arqiva’s satellite teleport hubs based in the UK. From there it was delivered simultaneously via satellite directly to the library servers in each cinema in France. Then the file was unlocked for screening by a security key sent separately by email to each cinema via AAM’s bespoke automated KDM delivery system. AAM’s chief executive officer Howard Kiedaisch says “AAM’s electronic content delivery platform is proven and open for business!  Our thanks go to Ciné Classics and La Femme Endormie for giving us this great opportunity. Satellite delivery of films to cinemas is the bright new future for film distribution and exhibition and we are proud to be a first mover during these exciting times.” Arts Alliance Media ,1269
3ality Digital Cinedigm to Collaborate on 3D Alternative Content Projects,2009-09-24, 3ality Digital and Cinedigm Digital Cinema have announced they plan to collaborate on a series of alternative 3D entertainment projects that should arrive in theatres nationwide over the course of the next two years. The companies which earlier this year joined forces on the first live 3D sports broadcast available to consumers plan to introduce a minimum of eight projects in the next 24 months. Strong ticket sales for their previous effort – the live 3D broadcast of college football’s national championship game to 80 Cinedigm theatres in 31 states – confirmed the growing consumer demand for pixel-perfect 3D entertainment experiences.

 The game between the University of Florida Gators and the University of Oklahoma Sooners was broadcast live in 3D on January 8 2009; Cinedigm reported its partner theatres grossed more than four times the best per-screen movie gross that evening. “This is a tremendous opportunity to build on the success we enjoyed with the FedEx Bowl Championship Series event ” says 3ality Digital CEO Sandy Climan. “The millions of moviegoers who have been drawn to recent animated 3D film releases will be astonished by the power of digital 3D technology to transform live-action content as well. The various sports leagues music producers and other industry executives we are speaking with share our belief that digital 3D will continue to change the way people think about everyday entertainment.”
 “This series of 3D productions will create a highly immersive entertainment option that traditional 2D fare simply can’t match ” says Jonathan Dern president of Cinedigm Entertainment Group. “Expanding our 3D content offerings allows us to maximize the investment we have made in our industry leading digital cinema network and to deliver an unparalleled customer experience.”

Cloudy with a Chance of Meatballs has widest 3D Release to Date,2009-09-24,In the widest theatrical 3D film release to date Columbia Pictures’ and Sony Pictures Animation’s Cloudy with a Chance of Meatballs earned an estimated $30.3 million in total box office and debuted at number one during its opening weekend. The box office generated in theatres with 3D screen accounted for more than half the revenue. “Cloudy with a Chance of Meatballs is a terrific film with innovative and creative 3D techniques. This is a tremendous victory for our colleagues at Columbia Pictures and Sony Pictures Animation and for our worldwide network of exhibitor partners ” says Michael V. Lewis CEO of RealD which claimed it had the largest share of 3D screens. “With over $16 million RealD 3D continued the trend of delivering the majority of box office gross for opening weekend proving once again that audiences everywhere prefer the 3D experience to any other.” 
 Gitesh Pandya on the website wrote that it was the fifth 3D film of the year to open at number one. According to Pandya the movie ran on 1 828 3D screens representing 59 percent of the total of 3 119 and said many of the multiplexes also devoted at least one screen to the 2D version for those moviegoers that didn't want to pay the higher ticket price for 3D. “The studio estimated that between $17.5 million and $18 million of the weekend gross came from the 3D screens ” Pandya wrote adding “Imax sites delivered $2.5 million.” ,1273
Dolby Exclusive Digital Cinema 3D Provider to Toronto Film Festival ,2009-09-24,Dolby Laboratories was the exclusive digital cinema server and 3D provider of the 2009 Toronto International Film Festival which was held September 10–19 at venues throughout Toronto Canada. For the first time the festival was outfitted with Dolby 3D when it presented the North American premiere of Joe Dante’s The Hole. Dolby’s production services team installed Dolby Digital Cinema and Dolby 3D and also calibrated the sound and image of all participating festival venues. In addition Dolby support staff was onsite during the festival to ensure that audiences got the best possible experience and that filmmakers could accurately share their creative vision whether they used film or digital cinema in 2D or 3D. “The Toronto International Film Festival prides itself on delivering filmmakers the highest quality and latest cinema innovations ” says Andrei Gravelle Technical Manager TIFF. “The addition of Dolby 3D brought a new dimension to the festival and I know audiences were enthralled by the premium viewing experience the Dolby 3D solution provides.”  In addition TIFF outfitted four festival venues with Dolby Digital Cinema equipment. Dolby’s New York–based Production Services team created digital cinema packages for a number of films to be shown digitally for the first time in a fully equipped Dolby Digital Cinema environment. “Working closely with the Toronto International Film Festival over the past two decades Dolby has seen the festival evolve into one of the premier industry events in the world ” says Bill Allen senior director production services Dolby Laboratories Dolby Digital Cinema ,1276
Element Technica Introduces a Series of 3D Production Tools,2009-09-24,Element Technica announces the new Technica 3D Series which brings a new level of precision speed and simplification to stereoscopic 3D motion picture production. 3D production has long been plagued by heavy and complicated equipment that requires specialized tools and dedicated crew to assemble and adjust eating up precious production resources. That kept 3D practical for only an elite few. But now the Technica 3D Series overcomes these stumbling blocks by providing smartly engineered 3D systems that are lighter weight and less costly to bring 3D acquisition down to the simplicity of traditional 2D production. The Technica 3D systems are configurable into both beam splitter and parallel camera platforms and the systems are scaled to fit popular cameras from the tiny SI-2K Mini to a full size Red One—even with zoom lenses. Camera and lens controls are neatly imbedded.    The new Technica 3D camera rigs are manufactured in a proprietary configuration of machined aluminum for optimum rigidity. Unlike other 3D systems Technica 3D systems require no tools for camera alignment or mounting. Alignment adjustments are made linearly in each of three axes in addition to pitch and roll. Rig set-up takes about 10 minutes instead of the up to an hour required for traditional 3D rigs. Dedicated motors for interocular and convergence control are built right into the platforms. Technica 3D systems are available in three different sizes to accommodate a variety of cameras. The largest Quasar is designed for full size digital cinema cameras such as the Sony 1500 or the Red One equipped with prime or zoom lenses. The mid-sized Proton mounts box-style digital cinema cameras such as the Scarlet Epic and the SI-2K. The ultra-small Neutron is designed for the tiny 2/3-inch or 1/3-inch imager cameras sporting C-mount lenses such as the SI-2K Mini and the Iconix. All three Technica 3D systems can convert from parallel to beamsplitter and back depending on the application. Element Technica has also developed a series of intuitive hardware/software tools to automate stereo calculation. These tools will be available as add-in modules for the core systems to enable the director or DP to intuitively control how much or how little the subject comes off of the screen without requiring complex IO and CONV calculation techniques. IO CONV and standard lens zoom focus and iris control can be coordinated through the company’s patented Stereo Assist feature. The Technica 3D systems begin shipping in the fall of 2009 with the first deliveries scheduled to go to Hollywood rental houses. Element Technica ,1277
Working Title Completes the Upgrade of its Screening Room,2009-09-24,UK producer Working Title has installed a GDC SA-2100A digital cinema server for its new screening room facility in London’s Marylebone theatre.  The installation marks the completion of the 45-seat screening room which features both conventional 35mm and modern digital cinema. The theatre was designed and fitted out by London-based Future Projections who has produced similar rooms for Firmdale Hotels The Courthouse Curzon Empire Picture House cinemas and many others. In addition to GDC’s SA-2100A digital cinema server Kinoton’s FP30D film projectors and a Barco DP1500 DLP were adopted in this project. “The room at Working Title was a challenge – fitting in film D cinema and 45 seats without any compromises meant pushing the boundaries of both the room and the technology. We’re delighted with the results ” says Future Projections’ Peter Hall. “The GDC is far more intuitive to use ” says Working Title’s Tony Reid technical manager for the new theatre.  “The operator screen is (at last) decent-sized the menu structure straightforward and the unit incredibly stable and robust. Features such as hot swappable drives inbuilt loading slot and DVD interfaces give the unit not only more flexibility but also a reliable recovery mechanism to prevent loss of shows in the event of a drive failure”. The choice of GDC was brought about by a newly forged relationship between GDC and Future Projections who will offer first line support as well as the location of service exchange units in London.  “We have always liked GDC – great product competitive pricing ” says Hall “but most important of all excellent support – Dr. Chong and his team are really pro active; on top of providing technical support they are actively involved in sharing the long- term experience together with their customers.”   GDC Technology ,1279
Marek Poray-Heywowski Shoots The Interrogation of Harry Wind ,2009-09-24, Filmmaker Marek Poray-Heywowski recently traveled to Switzerland to shoot The Interrogation of Harry Wind for Sunvision Filmatelier. The spy thriller recently wrapped principal photography and is scheduled for release in early 2010. The film from Swiss director Pascal Verdosci stars Sebastian Koch (The Lives of Others) and Klaus Maria Brandauer (Mephisto Out Of Africa). Set in Zurich in the 1950s and based on a true story Wind follows special agent Rappold (Brandauer) who shortly before retirement has to bring down influential Swiss businessman Harry Wind (Koch) accused of spying. 
 Principal photography was shot with a pair of Panavision cameras. The film’s second unit was outfitted with the more lightweight Sony PMW-EX3 camcorder to shoot a sequence from a vintage 1950’s helicopter. According to Poray-Heywowski the wideangle adapter for the original lens caused distortions. An XS8x4AS-XB8 wide angle Fujinon lens was selected based on a recommendation found within the camera’s instruction manual.
 “The distortions we were getting from the other lens due to the wide angle adapter were unacceptable so we were pleased to see the incredible difference upon using the XS8x4AS-XB8 wide angle Fujinon lens ” Poray-Heywowski says. “It is really one of Fujinon’s best kept secrets and I consider it a wonderful treasure. We were able to intercut images shot with this lens with our original Panavision footage in spite of the equipment variation.” 
 Poray-Heywowski says it is unusual to find such a pristine image in a lens designed with zoom construction. “The biggest surprise for everyone on set was how compact the lens was ” he says. “The Fujinon lens is much shorter than the camera’s original lens plus wide angle adapter.” 
 With the Fujinon lens Poray-Heywowski was also able to shoot in an elevator shaft on location in Switzerland thus avoiding the time and expense of employing a set designer to create one. “The Fujinon lens literally came to the rescue and made these shots possible ” he says. “We were able to create a beautiful shot in a very small space without any fisheye effect. The lens created a perfect recta-linear image without bow lines that wide angle lenses tend to create.”
 Fujinon ,1280
HPA to give Ben Burtt the Charles S. Swartz Award,2009-09-24,The Hollywood Post Alliance has announced that Ben Burtt will receive the organization’s Charles S. Swartz Award for Outstanding Contribution in the Field of Post Production recognizing his powerful artistic impact on the industry.  The award will be bestowed on November 12th during the Hollywood Post Alliance Awards gala at the Skirball Center in Los Angeles. Burtt’s credits and accomplishments are the stuff of legend; his contributions integrally woven into a number of iconic and Oscar winning films. Showing a rare fluency across many disciplines Mr. Burtt has worked in every facet of film production for over 35 years.  With numerous credits on films such as; Star Trek WALL-E Indiana Jones franchise E.T. and numerous Star Wars episodes Burtt’s skills include directing producing sound design sound editing editing voicing and voice design in motion pictures television specialty educational and documentary.  He was the Sound Designer for the Star Wars and Indiana Jones series has been nominated for 12 Academy Awards for sound effects work and has won four Oscars. He has created globally and instantly recognized sounds like the light saber and characters like Wall-E and R2-D2.  He designed ET’s voice and wrote the Ewok Freedom song.   His contributions as director and collaborator are extensive and cover the entire range of creative filmmaking; from animation documentary television series and feature films.  Burtt’s credits include the IMAX film Special Effects for which he was nominated for directing in the Best Short Documentary category of the Academy Awards.   Last year he received the Oscar nomination for Best Sound Editing and Best Sound Mixing for Pixar-Disney’s Wall-E. In addition he voiced the main character Wall-E along with Wall-E’s robot sidekicks.  Burtt won the 2008 HPA Award for Sound Editing for the movie.  His most recent sound design earlier this year was for JJ Abram’s Star Trek.   He holds a BS in Physics from Allegheny College a Masters in Film Production from the University of Southern California and a Doctorate of Arts from Allegheny College.  Currently at work on several projects as writer director and sound designer Burtt is married to Margaret Burtt and has four children and four grandchildren. HPA Awards co-founder and committee chair Carolyn Giardina says “We are thrilled to recognize Ben Burtt with the Charles S. Swartz Award an honor that represents everything that the HPA stands for; creativity technical excellence and limitless thinking.  From R2 D2 to WALL-E Ben Burtt has helped create some of the most unforgettable characters of our generation. We are honored to present this award to him.” 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.  The award was named in honor of the late Charles Swartz who led the Entertainment Technology Center at the University of Southern California from 2002 until 2006 and helped to build it into the industry’s premiere test bed for new digital cinema technologies.  In addition to a long and successful career as producer educator and consultant Mr. Swartz served on the Board of Directors of the HPA.   Leon Silverman president of the HPA says “Ben Burtt’s career and accomplishments speak to the true spirit of this award which recognizes impactful contributions. Ben Burtt’s impact to the art and craft of post-production and to our cultural legacy should be celebrated.” The Hollywood Post Alliance ,1281
Kodak Certifies Laboratorios Gama SAI in Santiago Chile,2009-09-24,Kodak has announced that Laboratorios Gama SAI in Santiago Chile has successfully completed all requirements for Kodak ImageCare Program certification. Now in its 40th year this small but highly successful laboratory joins a Kodak program active in 27 countries worldwide.   A major Hollywood production shooting in Chile wanted to work with us but decided to develop their film back in the United States because we were not a certified lab says Maria Mayor Gama's chief of laboratory operations. That made the value of the Kodak ImageCare program very clear to us and we took the necessary steps to begin the very demanding process of certification.   Laboratorios Gama is a respected member of the Chilean production market with a long history of well-established relationships. With only 11 staff members the lab has a major share of that country's market for color negative film processing.   Their employees are well-trained and very competent and their management is dedicated and highly knowledgeable says Diane Carroll-Yacoby worldwide manager of the Kodak ImageCare Program. They have a long legacy with Kodak. Their customers have come to rely on them for superior quality and service; our goal is to help them to adopt and standardize best practices and to build their business as a result.   Acceptance into the Kodak Program is a challenging and time-consuming process that requires a laboratory-wide commitment. For Gama the process took almost a full year because they wanted to make the necessary changes smoothly and to make fundamental changes in the way they worked for their customers.   The Kodak ImageCare Program enables everyone in our lab to be sure they are doing what needs to be done in the way it needs to be done and to be fully aware of all parts of the process says Mayor. We have already improved our consistency so we know the program is improving our service. Our goal is to keep making improvements so customers will know this is the way we work every day.   Laboratories in countries where the Kodak ImageCare Program is offered can become members through an assessment process. A Kodak technician assists and certifies lab personnel in standardizing and documenting procedures monitoring and controlling processes and in demonstrating an ability to follow quality-control checklists.   Even after certification labs are independently audited on a yearly basis with other assessments by local Kodak representatives on an ongoing basis. Kodak also provides training for lab personnel with the aim of achieving optimum and consistent performance.   Certification in the Kodak ImageCare program proves that Gama complies with standards of quality even the most demanding filmmakers can rely on says Carroll-Yacoby. Their membership signifies that they deliver the best of what film can offer so customers can trust that when they work with Gama they are working without compromise.   Kodak ImageCare Program   ,1283
NATO Restructures and Elects New Officers,2009-09-24,The National Association of Theatre Owners has announced the election of new officers – the first chosen by the executive board of directors under a recently enacted board restructuring at the association’s annual meeting at the Fairmont Hotel in Newport Beach California. Elected to two-year terms were – Tony Kerasotes chairman and CEO Kerasotes Showplace Theatres as chairman; Aubrey Stone president Georgia Theatre Company as vice-chairman; Amy Miles CEO of Regal Entertainment Group as treasurer; and re-elected as secretary Mark O’Meara president University Mall Theatres.   The association’s two-day meeting came at the end of a record-breaking summer at the box office amidst a troubled economic climate in which box office and attendance continue to exceed the previous year.  There were 118 NATO members at the event to celebrate the robust state of the movie theatre industry and discuss issues of common importance to theater owners such as camcorder theft digital cinema and 3D projection. Universal Pictures chairman Marc Shmuger keynoted a private dinner for exhibitors. NATO’s outgoing board of directors recently enacted sweeping changes to the association’s governing structure creating a streamlined 17-member executive board intended to be more efficient more representative of the makeup of NATO’s membership and more directly responsible for the association’s governance. The board of directors now becomes a 97-member advisory board charged with consideration of the broader issues facing theatrical exhibition. NATO ,1284
Christie Xpand Support 3D at Spain’s San Sebastián Film Festival,2009-09-24,Xpand and Christie teamed up to convert the Antonio Elorza Velodrome into a colossal 3D cinema during this year’s San Sebastián Film Festival which took place September 18-26 in one of Spain’s most beautiful countryside’s. Showcasing four major 3D films including the Spanish premiere of Battle for Terra and Oceanworld the festival also screened the 3D version of Toy Story and The Nightmare Before Christmas presented as the Velodrome 3D Movies.   With an approximate audience of 3 000 at each screening the Velodrome was transformed into a giant screen theatre experience that will be one of the largest presentations produced at an international film festival.   The companies also partnered with Kelonik which has been collaborating with the San Sebastián Film Festival for several years. “The company has gained noticeable momentum by appearing at some of the most prestigious film festivals this year including Cannes and Venice further proving that the Xpand trademark of 3D has become the leading choice in superior technologies “ says Xpand’s CEO Maria Costeira. “It’s a privilege to be the 3D cinema leader throughout Europe in particular the Spanish marketplace which continues to be a prosperous and landmark region.” Xpand ,1285
Christie Supports Toronto International Film Festival for Eighth Year,2009-09-24,Christie DLP Cinema projectors were featured at select theaters hosting the 34th Toronto International Film Festival which was held September 10-19.  It was Christie’s eighth year as projection sponsor of the Festival which is becoming one of the most prestigious international film festivals in the world. The Festival featured its first 3D movie premiere. Joe Dante’s suspense thriller The Hole screened in Dolby 3D at the Ryerson Theatre Scotiabank Theatre 4 and AMC 9 during the Festival.  The Ryerson Theatre featured the Christie CP2000-SB and Christie CineIPM 2K in Dolby 3D.  The Christie CP2000-X was used at the Visa Screening Room in the Elgin Theatre where The Imaginarium of Doctor Parnassus Up In The Air and The Boys are Back were screened.  Other films screening with Christie digital projectors included Get Low Micmacs Mr. Nobody Women Without Men and Jennifer’s Body.  The first two titles were screened at the iconic Roy Thomson Hall with the Christie CP2000-SB projector. Christie also provided four three-chip DLP projectors to exhibit movies from HDCam in HD resolution. “Now in its 34th year the Festival continues to engage and entertain audiences by showcasing the best in Canadian and international film ” says Natalie Lue TIFF’s vice-president of operations and production. “Through our long-standing partnership with Christie their outstanding projectors and unparalleled support we are able to provide audiences with a superior visual experience in Toronto.” Christie ,1288
Anschutz Film Group/Walden Media Installs Nucoda HD System,2009-09-24, Hollywood’s Anschutz Film Group/Walden Media has taken delivery of Digital Vision’s Nucoda HD system. Digital Vision has worked closely with Walden to create a streamlined color pipeline from dailies to final delivery for their international productions. The two grading and one conform systems for Walden form the cornerstone of a production and post-production workflow on The Chronicles of Narnia: Voyage of the Dawn Treader which is one of the industry’s first 100-percent digitally acquired file-based feature projects.   The Nucoda HD systems capture and utilize the American Society of Cinematographer’s color decision list metadata and maintain it as a basis for grading throughout the project. Walden Media has produced several box office blockbusters including The Lion The Witch and The Wardrobe Journey to the Center of The Earth Bridge to Terabithia and The Water Horse. Earlier this year Doug Jones Walden’s executive vice president of physical production Sean Santiago vice president of visual effects and Jonas Thaler vice president of post-production designed a workflow for the third chapter in the Narnia series.  The director of photography and on-set colorist created a look for each scene which is expressed and documented as a ten-digit ASC CDL value.  In the Walden plan the CDL grades follow the project from set to dailies to VFX and final DI color timing. Doug Jones of Walden says “We and our filmmakers strive to make successful films with powerful and memorable visual content.  Directors and cinematographers do their best work if they are given instant access to high resolution images and precise color and density control from day one through final delivery.  After meeting in Los Angeles and London and getting to know Digital Vision’s international development group and product line we could see that the Nucoda HD system fit the bill.  The efficiency of the ASC CDL color value system and the power and depth of Digital Vision’s tools are the essence of our workflow.  Our partnership with Digital Vision has evolved to the point where we’d like to keep this going on future projects.” Simon Cuff president and COO of Digital Vision says “Walden Media has a history of telling high quality stories with beautiful imagery created by top filmmakers. To work so closely with this team and this caliber of entertainment is exciting and we are looking forward to Nucoda being part of that creative process from the camera to the cinema screen.  Walden’s push forward in production VFX and post production workflow has allowed us to accelerate the development and refine the functionality of our on-set and dailies solutions – ensuring this will become an essential part of the movie-making process.” Digital Vision ,1289
3D Entertainment Acquires Air Racers 3D: Forces of Flight,2009-10-12,3D Entertainment is pleased to announce today that it has acquired the distribution rights for Air Racers 3D: Forces of Flight produced by Los Angeles-based Pretend Entertainment and Stereoscope. Through the eyes of first-time competitor and rookie pilot Steve Hinton Jr. son of champion air racer and acrobatic pilot Steve Hinton the film will chronicle the preparation for and competition in the world's fastest motor sport: the legendary Reno National Championship Air Races. The film will be in Imax 3D and 2D theatres in the US beginning in the fall. Just eight days after announcing our first acquisition for Imax 3D theatres Sea Rex 3D we are extremely pleased to add this exciting new film which will be the first non-aquatic title in our film catalogue to our 2010 lineup says Francois Mantello Chairman and CEO of 3D Entertainment Distribution. Projected on the world's largest screens Air Racers 3D's unique giant screen filmmaking style will put every moviegoer and motorsports fan in the middle of the highly competitive action and at more than twice the speed of a NASCAR race. We are thrilled to have reached a distribution agreement with the passionate team at 3D Entertainment says Christian Fry co-owner of Pretend Entertainment and the film's producer. With Air Racers 3D audiences worldwide will explore what are unquestionably the fastest-moving machines in motor sports and experience what it feels like to race at 500 mph a mere 50 feet off the ground. Pilots fight for position running a tight eight-mile course marked off by ten giant pylons where flying a perfect line is critical for victory. Under these extreme conditions it takes only a single miscalculation or mechanical failure to impact the entire field of planes with potentially catastrophic results. Principal photography on Air Racers 3D: Forces of Flight took place during the 46th annual National Championship Air Races at the Reno Stead Airfield September 16-20.  Ultra high definition 3D cameras were used for the very first time. Air Racers: Forces of Flight will follow 21-year-old Steve Hinton in his attempt to become the youngest air race pilot ever to compete in the Unlimited Class the most anticipated event which has always been dominated by pilots with decades more experience. The film will also focus on the science of today's air racing technology human physiology neurology and the underlying physics that pilots depend on to take turns at the highest speeds while skillfully maneuvering within inches of their flying competitors. Air racing is a tradition that started nearly 100 years ago with World War I-era barnstormers that eventually evolved into the grand racing events organized to celebrate the aviation heroics of World War II. The last of their kind the Reno Air Races began in 1964 as a revival of these high-speed competitions celebrating horsepower ingenuity and piloting skills of the men who operated these planes under much more dangerous and dire circumstances. For one week every September the high desert north of Reno becomes home to hundreds of aircraft their pilots and crews. Fly low go fast and turn left is their motto. Air Racers: Forces of Flight is produced by Pretend Entertainment and Stereoscope in association with the Reno Air Racing Association. Roger Tonry known for his extensive experience in aerial and aviation photography will direct. Christian Fry and Bernie Laramie will serve as producers with John Constantine Raul Leckie and Jeffery Pierce as executive producers. 3D Entertainment Air Racers: Forces of Flight ,1296
Sachtler Introduces the Artemis EFP HD SE Camera Stabilizing System,2009-10-12,Sachtler has introduced the artemis EFP HD SE camera stabilizing system designed to work with the Red One camera. The EFP HD SE was designed and engineered in Germany following the same philosophy as the entire artemis stabilizing line. Two key features of the system are the 15 Amp high capacity camera power supply and new Hot Swap technology. Because of these innovations the artemis EFP HD SE is well-suited for pairing with the Red One and other state-of-the-art HD cameras. In addition to the standard 3-pin camera power out 3-pin Aux power and 4-pin focus power out sockets there is an extra new camera power-out using the same Lemo 2B 6-pin socket and wiring scheme as the Red One. The new HiCap high capacity power supply allows the artemis EFP HD SE to handle 14V 15 Amps at 210 Watts without any problem. When the artemis EFP HD SE system is used with 14 Volts and up to 11 Amp / 154 Watts the voltage drop is less than four percent far superior to other brands of stabilizers. When shooting with the Red One camera using the Red Brick 140WH battery pack the operator is guaranteed maximum run time and optimum battery capacity. The voltage drop of this combination is less than four percent. Plus battery capacity data is displayed in the eyepiece of the Red One when a Red Brick or other battery supporting capacity data is used. Due to the modularity of the artemis EFP HD SE the use of the five-foot-three-inch super post with an HD camera stabilizer system is no longer a problem allowing unusual perspectives to be achieved. The patented dual dynamic balance of artemis systems allows mounting of two batteries at four independently adjustable positions. This unique feature offers two benefits: more than enough battery power on board and flexible positioning of the batteries for perfect dynamic balance. According to Curt O. Schaller inventor of the artemis the new HiCap wiring the use of new power-out sockets and Hot Swap technology in combination with HQ HD SDI video are logical steps into the future of digital cinematography camera support. The artemis EFP HD SE provides camera power Hot Swap technology made by Anton/Bauer. Users are free to change the batteries of the rig without rebooting the camera. The special circuit made by Anton/Bauer ensures easy and problem free hot swap procedures and is friendly to the batteries. Regardless of the camera used this Hot Swap capability can save valuable production time. The new system supports HD SDI video processing up to 4.5 GHz. Fully modular artemis is the only stabilizing system on the market offering such versatility. The HQ HD SDI video line allows the use of the award-winning Transvideo CineMonitor HD six foot SBL. With a built-in waveform monitor a digital bubble and free adjustable frame-lines the operator has maximum control. The artemis EFP HD SE system includes the ACT 2 vest and ACT 2 spring arm. The ACT 2 vest features seven segments that can be positioned to provide the ideal fit for the operator's shoulder chest and hip areas. Decades of experience and a close working relationships with operators have helped us optimize carrying comfort at the body's most sensitive load-bearing points says Schaller artemis developer and a long-time operator. The ACT 2 vest's optimized fit contributes greatly to improved operation of the system and operator comfort. The lightweight ACT 2 arm enables quick precise and soft operation. Advanced aeronautical technologies and solutions were incorporated in developing the arm providing load capacities from 22.6 to 53.3 pounds (11 to 26 kilograms). The new turnover mechanism of the mating block can be adapted to the preferred operating side quickly and safely. In addition the mating block is 3mm higher than in previous versions allowing a steeper angle adjustment. Despite this modification the arm still fits into vests of other manufacturers and offers more adjustment possibilities including modifying the angle between the arm and the operator's body. Sachtler The Vitec Group ,1298
ASC Dedicates 2010 Heritage Award to Memory of Richard Moore,2009-10-12,The American Society of Cinematographers has dedicated the 2010 Heritage Award for outstanding achievement in a student film to the memory of Richard Moore. The award is annually re-named in dedication of a person who made noteworthy contributions to advancing the art of cinematography. The Richard Moore ASC Heritage Award will be presented during the 24th Annual ASC Outstanding Achievement Awards celebration at the Hyatt Regency Century Plaza Hotel in Hollywood on February 27 2010. Submissions for the award are currently being accepted by the organization. The deadline is noon November 3rd. Richard Moore was a true visionary who co-founded Panavision and was responsible for significant advances in filmmaking technology says ASC president Michael Goi. He was also an exceptionally talented cinematographer whose credits include The Reivers Myra Breckinridge Sometimes a Great Notion The Life and Times of Judge Roy Bean and Annie among other memorable films. Richard Crudo ASC chairman of the Awards Committee says Our goals are to recognize artful cinematography by student filmmakers and to encourage them to pursue their dreams. Richard Moore is an ideal role model for them. Applicants for the 2010 Richard Moore Heritage Award must be in their final year or be a recent graduate of a school in the United States. Requirements include a recommendation by the dean a department head or another faculty member. Films that are submitted will be judged by a jury of ASC members who will evaluate both the artistry of the cinematography and how effectively the images augment the visions of the directors and performances by the actors. Moore blazed a nontraditional career path. He was born in Jacksonville Illinois in 1925 where he lived on the family farm during his childhood. Moore was an avid movie fan and an 8mm film and still photography hobbyist during his youth. He majored in naval science and minored in cinema studies as an undergraduate at the University of Southern California. After serving in the Navy Moore earned a graduate degree in cinema studies at USC. In those days a film school degree and a nickel bought you a cup of coffee in Hollywood Moore said in a 2005 interview. I shot 16mm travelogues and supported myself by working in a camera store in the Westwood neighborhood of Los Angeles. That's where he met Robert Gottschalk who was also working at the camera shop. The U.S. distributor of the Aqualung invented by Jacques Cousteau contacted Gottschalk and Moore and asked them to develop an underwater housing for a 16mm Bolex camera. Moore had heard about an anamorphic lens made in France. He experimented with adapting it for underwater cinematography. Moore also shot a few short 16mm films in anamorphic format in 1953. The Robe the first motion picture produced in widescreen CinemaScope format was slated for release that year. The head of a major manufacturer of cinema screens heard about the experiments shot by Moore. He asked him and Gottschalk if they could develop an affordable lens that could be used with projectors already in cinemas to present motion pictures in CinemaScope and other widescreen formats. Moore and Gottschalk embraced the challenge. The first Panavision office and research lab were on a balcony in the camera store. They collaborated on the design of the lens which sold like hotcakes using Moore's words and went on to develop and manufacture other innovative motion picture products. In 1959 Moore Gottschalk and Douglas Shearer shared a Scientific and Engineering Award from the Academy of Motion Picture Arts and Sciences for developing a 65 mm camera and projector.   Moore left Panavision in 1962 to pursue his passion for cinematography. He began his new career as an assistant cameraman and persistently worked his way up through the ranks. Moore earned his first cinematography credit for a feature film in 1965 called Operation C.I.A which featured Burt Reynolds in his debut as an actor. Winning was one of Moore's personal favorite endeavors as a cinematographer. The 1969 film featured Paul Newman in the role of a racecar driver. Moore designed and built a remote control system which enabled him to operate a camera mounted on the racecar that Newman was driving. He was able to zoom tilt the camera and change T-stops. When his colleagues presented the ASC Presidents Award to Moore in 2005 he said One of the things that has fascinated me about filmmaking for all these years is that it provides an opportunity to express yourself in a language everyone understands. You can educate as well as entertain people and hopefully improve the condition of mankind. I think it is incumbent on every human being but especially those of us who are in the film business because we have the ability to do so. Moore was 83 years old when he died of natural causes on August 16 2009. Richard Moore was a talented cinematographer who was passionate about the art and craft of telling stories with moving images says Isidore Mankofsky ASC chairman of the Education Committee. He was also a generous human being who always had time for students and other young filmmakers when they asked for advice.   For more information and to download an application go to the American Society of Cinematographers website at ,1299
D-Box Systems Now Compatible with GDC Digital Cinema Servers,2009-10-13,Theatre systems from D-Box Technologies are now compatible with the digital cinema servers manufactured by GDC Technology. According to the company this latest announcement provides D-Box an opportunity to further expand its business together with GDC Technology whose software-based digital cinema solution has garnered nearly 400 installations in North America and 2 000 internationally. We are thrilled to be compatible with GDC's Digital Cinema servers and we're looking forward to theatre installations combining our technologies ” says Claude Mc Master president and CEO of D-Box Technologies. D-Box Motion Code is currently available in seven movie theatres throughout North America and has an aggressive rollout plan for new locations and a continuous flow of motion-enhanced movies all for the benefit of moviegoers. Through compatibility with industry leaders such as GDC Technologies D-Box is in a great position to ride the current digital wave within the theatrical industry. D-Box's ground-breaking patented technology has opened up a whole new world to movie goers in their viewing experience says Dr. Man-Nang Chong founder and CEO of GDC Technology. GDC is quick to recognize the significance of this new technology and we are glad that D-Box has acted swiftly to establish compatibility with our servers thus ensuring that our customers will be among the earliest to enjoy this latest technology. D-Box Technologies GDC Technology