Singapore’s VHQ Installs Pandora Revolution Express

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Sun, 01/30/2011 - 19:00 -- Nick Dager

Singapore post house VHQ has selected Pandora's Revolution Express to anchor the company's color correction workflow from ingest to deliverables. Along with YoYo software included with the Revolution Express package VHQ now has data workflow for all file formats crucial for the volume of work required of a modern facility.

 We chose the system because we knew we were going to be getting more and more digital formats like Red and Phantom says Billy Fong producer and technical manager at VHQ. We wanted a simple streamlined way to process those file formats for postproduction and grading on our Pandora system. Founded in 1984 VHQ is one of the region's leading media and post-production companies and now has facilities across Asia in Kuala Lumpur Jakarta and Shanghai. The company has won numerous awards for groundbreaking work in film broadcast and commercials.

In 2008 VHQ invested in a new Pandora Revolution color corrector. Since then the facility has seen a sharp increase in file-based projects especially with the rise of the Red camera so the need for data management for a wide range of file formats was clear.

 In 2010 VHQ decided to ramp up their data pipeline with the Revolution Express kit. This upgrade includes the YoYo file management software and Pandora's proprietary PCI card. The PCI card is installed in the Mac Pro running YoYo and formats data for the color corrector in real time. With the Revolution Express configuration VHQ can now plug in a Firewire drive containing Red footage for example and stream the material directly through the Pandora Revolution applying color grading straight off the disk to DPX and any number of other file formats. 

 This saves VHQ an incredible amount of time that would otherwise be required to prep the material says Adam Welsh sales manager for Pandora/YoYotta. The system has no ingest requirement and conforms & converts from R3D to DPX with colour in real time. On top of that it can handle multi-format mixed timelines including Phantom Arri ProRes and others. With the Revolution Express you just get straight to work.”  

 We looked at a number of other options but found they did not offer the efficiency and flexibility of the Revolution Express with integrated YoYo combination says Fong from his office in Singapore. We're in the process of consolidating all of our storage on a central server and we find the Mac platform easier for mounting different drives or media. Plus YoYo's working directory is on the same server so we don't have to keep copying content from one drive to another which makes it more efficient.

 The Revolution Express has become our turnaround system Fong says. You could do many of these functions using various other tools and plug-ins but it's so much more streamlined if you can do it all in one sweep. We're already using YoYo on almost every project to prepare files add timecodes and export media. VHQ is one of the industry leaders in Southeast Asia says Welsh. We're delighted they chose to join the growing number of facilities around the globe who are rediscovering Pandora for managing their data workflows.
 Pandora International ,2200
RAAM Irish Cinema Industry Awards Nominees Announced,2011-01-31,Nominations have been announced for the 2011 RAAM UK and Irish Cinema Industry Awards. In what has become the first awards show in the UK and Irish cinema awards season the winners will be presented with their awards at a dinner at the Marriott Hotel Grosvenor Square London on February 9th. Tony Meehan chairman of RAAM management creators of the awards says “2010 was a good year for the UK and Irish cinemas. This years’ nominations reflect the broad range of excellent films which were released during 2010. The growth in 3D and Imax movies continue to make increased and positive contributions to revenues.” The nominations in alphabetical order in each of the 11 categories are: Movie of the Year Alice in Wonderland – Walt Disney Studios Motion Pictures Harry Potter and the Deathly Hallows – Part 1– Warner Bros Toy Story 3 – Walt Disney Studios Motion Pictures Imax Movie of the Year – sponsored by the Imax Corporation Alice in Wonderland - Walt Disney Studios Motion Pictures Toy Story 3 – Walt Disney Studios Motion Pictures Tron – The Legacy – Walt Disney Studios Motion Pictures Dolby 3D Movie of the Year – sponsored by Dolby Laboratories Alice in Wonderland – Walt Disney Studios Motion Pictures Shrek Forever After – Paramount Pictures International Toy Story 3 – Walt Disney Studios Motion Pictures Foreign Language Movie of the Year A Prophet – Optimum Releasing The Girl with the Dragon Tattoo – Momentum Pictures The Girl Who Played With Fire - Momentum Pictures Distributor of the Year Paramount Twentieth Century Fox Warner Bros Independent Distributor of the Year Entertainment E One Group Optimum Releasing Cinema of the Year UK – sponsored by Walt Disney Studios CineWorld - Glasgow Vue – Westfield Cinema of the Year Ireland – sponsored by Walt Disney Studios CineWorld - Dublin Movies@ Dundrum Vue – Dublin Independent Cinema of the Year UK – sponsored by Walt Disney Studios Lexi Cinema – London White River – St Austell Zeffirellis – Cumbria Independent Cinema of the Year Ireland – sponsored by Walt Disney Studios Carrick Cineplex Movies @ Dundrum Movies@ Gorey Barco Innovation in Cinema – Sponsored by Barco NV Access – Your Local Arts Alliance Cinema Vista ,2201
Rising Sun Pictures Finishes Red Dog The Dragon Pearl,2011-01-31,Australian digital production facility Rising Sun Pictures has used Nucoda Film Master to grade and finish two major feature films Red Dog and The Dragon Pearl both due for release this year. The facility also used Digital Vision's new entry-level system Nucoda Compose for VFX dailies to review high-resolution shots in a color-accurate environment for iterative feedback. Rising Sun Pictures has a vast portfolio including the Harry Potter series X-Men Origins: Wolverine Australia and Superman Returns to name but a few. Rising Sun Pictures' DI colorist Alex Meddick who has worked on a number of high profile features including the Harry Potter series used Nucoda Film Master's standard toolset to grade the majority of Red Dog. The comprehensive grading tools were used to achieve the appropriate look set up by director Kriv Stenders and cinematographer Geoffrey Hall. Michael Taylor Rising Sun Pictures' CEO says When we installed our Nucoda Film Master DI grading suite including Nucoda Compose we invested a significant amount of R&D to set up the technical aspects of the pipeline including identifying all new formats of delivery and acquisition as well digital cinema deliverables. This ensures the best image quality from start to finish by understanding the nature of the images acquired. Red Dog was shot entirely in Australia. Daniel Taplitz adapted the Louis de Bernières (Captain Corelli's Mandolin) Red Dog novel.  The film is produced by Woss Group Film Productions and distributed by Roadshow Films. The plot is based on the Australian legendary true story of the Red Dog who united a disparate local community while roaming the Australian outback in search of his long lost master. Meddick has also recently used Nucoda Film Master to grade The Dragon Pearl a film shot entirely in China under the new Australia-Chinese co-production treaty. It is a Mario Andreacchio fllm and produced by Ampco Films and Hengdian World Studios. It tells the story of a young boy John (Louis Corbett) who travels to China to visit his father Dr. Chase (Sam Neill) on an archaeological dig and inadvertently discovers a real-life Chinese dragon. Taylor says Prior to installing the Nucoda Film Master we didn't have a real-time grading solution in a full 4K-capable cinema. This allows an entire film to be acquired finished and viewed in a cinematic environment with full 7.1 surround sound. The system has a full feature set with an extensive physical control service to allow efficient and dynamic workflows to be built with filmmakers. We've also tested Nucoda Film Master's Open EXR functionality for use within our VFX pipeline. The benefits are a higher dynamic range in the image and the ability to avoid the need to reprocess images by using our native internal linear to light color space. This shows great potential and we look forward to seeing how it develops with the aim to use it in the grading/DI pipeline.      Digital Vision ,2202
Linux Color Correction Added Grit to The Fighter,2011-01-31,Colorist Tony Dustin of Hollywood-based Technicolor used the DaVinci Resolve Linux non-linear color correction system for color grading work done on Paramount Pictures/Relativity Media’s critically acclaimed feature film The Fighter directed by David O. Russell. The film stars actor/producer Mark Wahlberg Amy Adams and recent Golden Globe winners Christian Bale and Melissa Leo and is currently in theatres nationwide. Using the DaVinci Resolve system to give the film a rich realistic look Dustin worked alongside Russell post-production supervisor Christopher Kulikowski and cinematographer Hoyte van Hoytema. Together they created an atmosphere to illustrate the grittiness of the boxing gym and the authenticity of the Boston-area working class against the backdrop of Lowell Massachusetts while also capturing the intensity of the professional ring. “Russell wanted The Fighter to feel as genuine and powerful as the original story ” Dustin says “so we needed to make every shot look human not processed. The grading of this project had to be subtle and the beauty of Resolve is that it can be as powerful or as delicate as you need it to be. I was able to use it as a surgical tool to bring the filmmakers’ vision to life.” Blackmagic Design ,2205
Warner Bros. Creating Major Entertainment Facility in Leavesden England,2011-01-31,Warner Bros. has uneviled plans for an in excess of £100 million re–building and expansion program that will create Warner Bros. Studios Leavesden – a permanent UK film production base for the company. Barry Meyer chairman and CEO and Alan Horn president and COO made the announcement at Claridges Hotel. Warner Bros.' purchase makes it the only Hollywood studio to possess and operate its own production facility in the UK. Once complete Warner Bros. Studios Leavesden will enjoy one of the largest backlots in Europe represent approximately a third of the dedicated stage space for major film production in the UK and be able to accommodate a number of major Warner Bros. and third party film productions each year as well as TV and advertising productions. On the heels of that announcement Warner also announced that the Thinkwell Group a full-service experiential design and development firm will design and produce a one-of-a-kind behind the scenes look at the Harry Potter movie series which will by prior booking give the general public the ability to tour several of the original Harry Potter film sets at the studio where all eight movies were produced. There guests will have the opportunity to see many of the iconic sets costumes creatures and props and witness the exceptional creativity and craftsmanship that went into bringing the film series to life. 
 Warner Bros. has used the studio facilities just outside Watford northwest of London since 2000 including the production of all eight Harry Potter films as well as many other recent Warner Bros. hits including The Dark Knight and Inception. As well as employing thousands of people year-on-year this involvement has attracted close to £1.9 billion in film production budgets equating to almost 40 percent of the UK's inward investment in film production over that time. Having received all necessary planning approvals from Three Rivers District Council and Watford Borough Council Warner Bros. is now set to build on that contribution with the re–development of the 170 acre site that will see the refurbishment and expansion of the studio increasing its ability to provide for services such as visual effects prosthetics animatronics and film editing as well as expanding the external filming and production areas. This commitment will help to sustain the level of employment generated by the productions based at the studio of approximately 1500 jobs and the creation of around 300 more including building and specialist contractors. As part of the redevelopment two new sound stages will be built to house and display many of the iconic sets costumes creatures and props from various Warner Bros. films shot in the UK. Initially this will be a behind-the-scenes look at the Harry Potter movie series and by prior booking will give the general public the ability to tour several of the original Harry Potter film sets at the studio where all eight movies were produced. There guests will have the opportunity to witness the exceptional creativity and craftsmanship that went into bringing the film series to life and discover the career opportunities that exist within this dynamic and growing industry. Meyer says For 86 years Warner Bros. has been intrinsically involved in film production in the UK. Our purchase of Warner Bros. Studios Leavesden and our multi-million pound investment in creating a state–of–the–art permanent UK film production base further demonstrates our long-term commitment to and confidence in the skills and creativity of the UK film industry. Horn says From Harry Potter and the Philosopher's Stone to Harry Potter and the Deathly Hallows Parts 1 & 2 the roll call of movies made at Leavesden is nothing short of spectacular. Over the last decade it has been a place of incredible ambition boundless energy and unprecedented success and I'm delighted that we are going to build on that rich legacy with many more productions in the future. Josh Berger president and managing director Warner Bros. UK Ireland and Spain says At a time when investment in the UK is critical Warner Bros. Studios Leavesden is a significant endorsement of the creative talent here in the UK. It will generate jobs inward investment and interest in an industry that is respected the world over. Roy Button OBE SVP and managing director Warner Bros. Productions says It is fitting that as we reach the conclusion of the Harry Potter movie franchise — a series indelibly linked to Leavesden — we're extending and updating the studio and at the same time preserving some of the extraordinary film sets and props our teams have created for some of the most successful movies of recent times. Dan Dark SVP and managing director Warner Bros. Studios Leavesden says Our exciting re–development plans give us the opportunity to create a truly world class facility in the UK. We are grateful that Watford Council Three Rivers Council Hertfordshire County Council and the local communities recognize and value the contribution that Warner Bros. has already made in the area and we look forward to playing our part in sustaining and growing the region's reputation for filmmaking excellence in the coming years. Warner Bros. Studios Leavesden is expected to open in mid 2012. Warner Bros Entertainment ,2206
3D Society Calls TRON: Legacy Year’s Best Live Action 3D Feature,2011-02-14,By Valentina I. Valentini The experts say that 3D grabs you and forces you to pay attention more. And that’s precisely what happened at the International 3D Society’s 2nd Annual 3D Creative Arts Awards on February 9. With loads of 3D clips and silly gags from host comedian Tom Cavanagh (Yogi Bear) the evening was high energy in all directions and the audience wasn’t able to look away. “You are all part of history tonight ” said Cavanaugh noting that it was the first-ever Hollywood awards show recorded and aired in 3D. The awards were held at the historic Grauman’s Chinese Theatre in Hollywood and were being recorded in 3D for future broadcast on 3net a joint venture between Sony Corporation Discovery Communications and IMAX Corporation. 3net will be the first 24/7 fully programmed 3D entertainment network launching this spring. Walt Disney Studios took home a handful of top honors walking away with five Lumiere Awards in total including Best 3D Live Action Film for TRON: Legacy and the People’s Choice Award for Toy Story 3 in the Favorite Animated Feature category. DreamWorks Animation won Best Animated 3D Feature and two other awards for How to Train Your Dragon. James Cameron was awarded the Harold Lloyd Award which was accepted by his producing partner Jon Landau of Lightstorm Entertainment. Cameron’s absence from the event though he was rumored to show up disappointed fans and critics alike. Lenny Lipton the godfather of 3D and an avid inventor with more than 100 patents to his name was presented the Century Award for Lifetime Achievement. An apt award as Lipton has spent almost his entire life passionate and dedicated to the advancement of the art and craft of 3D technology and filmmaking. Lipton invented the ZScreen which is at the heart of today’s 3D theatrical projection. “This is an important moment for 3D entertainment ” said Buzz Hays 3D Society chair and executive stereoscopic 3D producer at Sony 3D Technology Center. “Not only do tonight's winners showcase the increasing breadth and caliber of this art form but the event's first-ever telecast on 3net will bring the excitement into homes across the country.” The honors were selected by the voting of more than 400 Society members and People’s Choice Awards were selected by online voting from fans and were announced during the January 6 telecast of the event. Over 800 people attended the 3D Awards show including entertainment industry producers directors talent and technology company executives. Below is a full list of the honorees and winners. LIVE ACTION 3D FEATURE OF THE YEAR TRON: Legacy 
The Walt Disney Studios ANIMATED 3D FEATURE OF THE YEAR How to Train Your Dragon DreamWorks Animation SHORT 3D MOTION PICTURE/NARRATIVE Day & Night Pixar BEST 3D DOCUMENTARY:
Alice in Wonderland 
The Walt Disney Studios and Sony Imageworks 3D LIVE EVENT:
Black Eyed Peas 3D: Live AEG Live BEST 3D SCENE OF THE YEAR:
Tangled The Walt Disney Studios BEST 3D STEREOGRAPHY – LIVE ACTION

TRON: Legacy The Walt Disney Studios BEST 3D STEREOGRAPHY – ANIMATED
How to Train Your Dragon DreamWorks Animation 2010 PEOPLE’S CHOICE AWARD: FAVORITE 3D LIVE ACTION MOVIE
The Chronicles of Narnia: The Voyage of the Dawn Treader 
Toy Story 3 The Walt Disney Studios LIFETIME ACHIEVEMENT


James Cameron 3D Videogame

Call of Duty: Black Op
 Activision/Blizzard 3D TV MUSIC SERIES

Guitar Center

Dance Dance Dance BSkyB 3D TALENT AWARD

Jay Baruchel as Hiccup How to Train Your Dragon DreamWorks Animation ,2211
Julia Roberts Given ASC 2011 Board of Governors Award,2011-02-14, Julia Roberts was given the American Society of Cinematographers 2011 Board of Governors Award during the 25th Annual ASC Outstanding Achievement Awards gala in Hollywood on February 13 at the Hollywood & Highland Grand Ballroom. Cinematographers and actors have a special rapport that begins with a mutual trust says ASC awards committee chair Richard Crudo. Julia brings something extra to that relationship and further elevates what we do with her beauty and grace. She's a gift to every cinematographer she works with. Roberts earned an Academy Award in 2001 for her role in Erin Brockovich and Oscar nominations for her character portrayals in Steel Magnolias and Pretty Woman. Her films have grossed more than $2.5 billion worldwide. Roberts' many other credits include Michael Collins Everyone Says I Love You My Best Friend's Wedding Conspiracy Theory Notting Hill Ocean's Eleven and Twelve The Mexican Confessions of a Dangerous Mind Charlie Wilson's War Closer and Duplicity. She provided the voice of Charlotte in the animated film Charlotte's Web and made her Broadway debut in Richard Greenberg's Three Days of Rain. Most recently Roberts starred in Eat Pray Love based on the best-selling memoir by Elizabeth Gilbert. Her next film Larry Crowne directed by and starring Tom Hanks is scheduled for release in July. The ASC Board of Governors Award is given to individuals who have made extraordinary achievements to advancing the art and craft of filmmaking. Previous recipients include Warren Beatty Francis Ford Coppola Sally Field Morgan Freeman Ron Howard Sydney Pollack Martin Scorsese and Steven Spielberg among others. In an industry that accords the respect of legendary stardom very infrequently Julia Roberts has demonstrated continuously-by the strength of her performances and the perfection of her craft-that she has earned this distinction many times over says ASC president Michael Goi. She represents the best of Hollywood to the world. In addition to the Board of Governors Award the ASC will present its annual award for outstanding cinematography in a feature film. The nominees who were announced earlier this year are Matthew Libatique (Black Swan); three-time ASC award nominee Wally Pfister   (Inception); Danny Cohen (The King's Speech); Jeff Cronenweth (The Social Network) and 10-time ASC Award nominee Roger Deakins (True Grit). ASC ,2213
Barco Releases Dedicated Digital Cinema Projector for Post Production,2011-02-14, Barco has announced the commercial release of its DP2K-P a digital cinema projector specifically designed for the needs of the post-production community. It features an expanded color gamut and contrast brightness uniformity and specialized post-production software. The company says the DP2K-P meets the stern performance demands of post-production houses as well as the review room requirements outlined in the DCI specification. “To meet the unforgiving quality expectations of the post-production market the novel DP2K-P has been fit with an extra wide color gamut – significantly wider than what is currently recommended in the DCI specifications ” says Barco product manager Bram Dieryckx. “In addition users will immediately be impressed by the greatly improved contrast and brightness uniformity which results in more image detail especially in low light regions.” 

 The DP2K-P projector elaborates on the platform of Barco’s DP2K B-series from which it adopts benefits such as light efficiency low cost of ownership and user-friendly operation. The DP2K-P integrates Texas Instruments' 1.2-inch DLP Cinema chip. To prevent dust from intruding in the chip the projector has been fitted with a patented hermetically sealed enclosure which guarantees undiminished brightness and contrast levels over the years and allows for the use of reusable air filters another industry first. Barco's new post-production projector comes with a special version of the company's Communicator software package enabling users to create and customize their 2D and 3D look-up tables. 

The DP2K-P is available now. Barco ,2214
Bighorn' Explores General Custer's Super Bowl Connection,2011-02-14,Did a last-minute decision by George Armstrong Custer at the fateful Battle of the Little Bighorn affect the outcome of a Super Bowl?  That's the strange but intriguing premise behind Bighorn a 15-minute supernatural historical fantasy based on a true story. In 1876 General Custer's bandmaster Felix Vinatieri an Italian immigrant and the great-great-grandfather of NFL kicker Adam Vinatieri was ordered to stay behind at the 7th Cavalry's Powder River camp and missed the Battle of the Little Bighorn where Custer and his entire regiment were annihilated.   The Twilight Zone-ish tale takes place in 2002 when the New England Patriots won their first Super Bowl on Adam Vinatieri's last-second 48-yard kick and in 1876.   Had Felix Vinatieri died at the Little Bighorn Adam would never have been born says writer/director Alfred Thomas Catalfo. I thought that was a poignant commentary about how tenuous life is and that a path taken or not taken by a person can have an effect even generations later. I remember saying that my next film would be simple and easy says Catalfo a personal injury attorney. The next thing I know I'm directing Custer's Last Stand with mounted cavalry charging soldiers firing period weapons arrows flying and a very ornery herd of buffalo on a film with a $5000 budget. After a script review and several months of negotiations the NFL granted the filmmakers permission to use footage of Adam Vinatieri's game-winning field goal in the 2002 Super Bowl. Vinatieri now with the Indianapolis Colts is widely regarded as the greatest clutch kicker of all time. Bighorn can be viewed free online at ,2216
China National Film Museum Upgrades to 3D,2011-02-14, The China National Film Museum has installed a Barco DP2K-32B digital cinema projector to present 3D programs in the museum's IMAX Theatre. Currently the largest specialized cinema museum in the world the China National Film Museum is a monument to Chinese cinema. Feng Xiaozhong theatre department director of the China National Film Museum says “As digital cinema becomes more widespread today's audience is expecting more and more from digital wide-screen 3D cinema. Therefore as the world's largest national cinema museum we must keep pace with the evolving technology to fulfill our customers' expectations. Barco's new DP2K-32B digital projectors fully live up to the high standards for color brightness and depth that are essential in the cinema market. The enhanced cinema experience that these projectors create is indeed worthy of a Guinness Record holder.” Barco's managing director for greater China Yan Fei says “The China National Film Museum represents Chinese cinema's technology culture and areas of development. The fact that the museum is again using a Barco product in its screening hall underlines the trend towards digital screening in the Chinese cinema market. We will continue to support this process by providing innovative products leading technologies and high-quality service.” 
Cobb Theatres Expands Projector Deal with Barco ,2011-02-14, Cobb Theatres of Birmingham Alabama has purchased an additional 105 digital cinema projectors to complete the digital conversion of its entire 19-theatre chain with Barco's Series 2 projectors. Cobb already has over 60 Barco Series 1 and Series 2 projectors installed throughout its circuit. Cobb is planning to install a Barco projector in every auditorium and every theatre throughout the circuit with many venues featuring Cobb's innovative new CineBistro concept a rapidly emerging trend in digital cinema entertainment.  “Cobb is building a premium brand targeted to the sophisticated moviegoer who looks beyond merely catching a quick movie to seek a richer multi-faceted cinema experience. Barco projectors are a natural part of this equation perfectly complimenting our offering with unparalleled quality high efficiency and proven reliability ” says Jeremy Welman COO of Cobb Theatres. “Moreover we can count on Barco to stand behind their products with excellent service making a 'Barco exclusive' the natural and easy choice for us.” 

 “We are honored that Cobb has chosen to partner with Barco for this innovative CineBistro concept and to deploy our projectors throughout Cobb's entire circuit. They clearly recognize the importance that supreme image quality and top-notch service play in delivering an upscale entertainment experience ” says Todd Hoddick vice president digital cinema for Barco North America. “Cobb's innovative spirit and attention to detail are traits that we highly value at Barco and we share their enthusiasm for bringing this new avant-garde concept to a new genre of moviegoers.” ,2218
Arri Certifies Codex on ArriRAW T-Link ,2011-02-14,Arri has given an ArriRAW T-Link (Transport Link) certificate to Codex Digital confirming the ability of its recorders to record raw data from the Arri Alexa film-style camera. The certificate states that Codex Onboard Recorders meet rigorous standards set by Arri and can perform tasks required when using the Alexa camera in ArriRAW mode including recording the ArriRAW T-link stream showing a live preview while recording and playback of ArriRAW images. Codex Digital received a similar certificate in 2008 for recording ArriRAW from the Arriflex D-21 camera for the Codex Studio Recorder. Codex is prepared now to provide immediate support for productions using the Alexa camera with ArriRAW. Daruis Khondji was the first cinematographer to use the certified Codex Onboard Recorder principle photography of Amour started on February 7th in Paris. “This is good news for Codex but also for filmmakers who can now use the Alexa camera with ArriRAW in complete confidence ” says Codex Digital Managing Director Marc Dando. “There is now a proven means to record imagery from the Alexa camera and deliver it to post production in its optimal format ArriRAW.” “Codex Digital has great recording and workflow technologies to support raw data ” says Arri head of digital workflow solutions Henning Rädlein. “We are very pleased to provide Codex with this certification filmmakers can now take advantage of the superior quality and enhanced flexibility provided by Alexa and ArriRAW.” Codex Digital is the first maker of recording systems to receive Arri’s ArriRAW T-Link certificate for the Alexa camera. The certification permits Codex to use the certificate label on its products website and marketing materials. Codex Digital   ,2219
Speakers Named for the 2011 Digital Cinema Summit,2011-02-14, Hollywood director Eric Brevig known for his recent 3D work on Yogi Bear Sony Pictures Technologies president Chris Cookson and Hollywood director/cinematographer and chairman of the American Society of Cinematographers technology committee Curtis Clark will be among the speakers participating at the 2011 Digital Cinema Summit which takes place April 9-10 at the Las Vegas Convention Center. Spanning cinema broadcast and broadband the Digital Cinema Summit 2011 – which is co-produced by SMPTE and NAB – is a premier industry technology event drawing leading motion-imaging technologists researchers scientists practitioners manufacturers and strategic thinkers. This year’s gathering is themed Advances in Images and Sound: 3D 4K and Beyond. SMPTE has also announced the dates and call for papers for its second international Stereoscopic 3D Conference. To be held June 21-22 in New York City this year’s event follows last year’s successful inaugural conference and is the only scientific gathering to focus solely on the critical technologies needed for widespread and sustained 3D adoption. Conference registration opens February 15. Abstracts must be received by February 28. 

 The SMPTE 2011 annual Technical Conference and Exposition will take place October 25-27 in Hollywood.
  SMPTE ,2221
Doremi Sets Company Record in January,2011-02-14,Doremi Cinema shipped more than 1 000 servers combined with IMB/ShowVaults during the month of January alone a company record. The spurring demand for Doremi servers worldwide has been supported by the December addition of a second facility which facilitated increased production and more than doubled Doremi’s manufacturing capacity. With the utilization of the newly acquired facility Doremi is able to provide minimal lead times for its clients and streamline the company’s logistic operations to eliminate any pressure resulting from the increased demand for its products. “We have been continuously working towards offering more value to our clients ” says Michael Archer Doremi’s vice president digital cinema. “This value is comprised of numerous factors but most notably reliability. Our clients know that we are here for them and as all our engineering and manufacturing is done in-house we do possess the ability to offer that value by rapidly adapting to industry changes and requirements.”   ,2223
Tiny Island Productions Succeeds with Dream Defenders,2011-02-14, Tiny Island Productions a small production company from Singapore is making ripples around the world with its animation project Dream Defenders. The show which is targeted at six to nine year olds is also Singapore's first animation series in stereoscopic 3D.

 In Dream Defenders the heroes Zoey and Zane move between dreams and reality fighting off literally your worst nightmares. It features cool gadgets scary villains and above all a lesson in conquering your fears.

 Tiny Island Productions managing director David Kwok says The monsters here in Dreamworld are made from the fears and worries you bring with you. No worries no monsters. Dream Defenders is made in both stereoscopic 3D which requires special viewing glasses and flat animation which is what is seen on screens. With few such titles on the market creators Tiny Island Productions says going 3D helped them stand out.

 The show had been in the works for a year and it was at the MIPTV trade show in Cannes in April that Tiny Island realized many buyers were looking for content in stereoscopic 3D.  Production of the 26-episode series started in June and they have completed their first episode with four more on the way. 

Though we are very strong in creating content the 3D opportunities (and) 3D market really give us a much higher advantage because of the strong demand in the West: in US in Europe as well as in Asia Kwok says.

 Their work impressed a major US network so much that it commissioned Tiny Island to work on one of its projects.

 Creating a good product with a strong cast and storyline is important of course but as with most animation shows merchandising is where the money is with expected returns of about two to three times the initial investment. So from the look of the characters to the gadgets they carry it's all designed to be as marketable as possible to toy companies.

 Dream Defenders costs an estimated $5.2 million and is co-financed by Singapore’s Media Development Authority.

Beyond television MDA is setting its sights on feature films next. Chief operating officer Kenneth Tan says Animation is a high strategic priority for our media industry. We want our content to travel we want to leverage on the best technology and people and creativity that we have and modern-day animation thrives on that. Beyond any doubt I think modern-day 3D is here to stay and we expect also more and more animation properties coming out of Singapore to have second third fourth fifth to nth life across multiple platforms into games publications both hard copy as well as electronic television long form as well as feature films. MDA has created a S$10 million fund for stereoscopic 3D productions with S$2 million set aside for feature films. In its 2009/2010 annual report MDA reported that the media sector contributed S$5.5 billion of value-added and S$22.4 billion in revenue to the Singapore economy in 2008 employing some 63 000 workers. ,2224
Les Cinémas Gaumont Pathé Installs GDC Servers,2011-02-14,Les Cinémas Gaumont Pathé will use GDC digital cinema servers for its digital conversion program. System integrator ADDE and manufacture/installer Cinemeccanica France are responsible for the installation and maintenance services throughout the project. The deployment was started in January and involved the deployment of at least 300 units of SX-2000A servers with Integrated Media Block across France The Netherlands and Switzerland. GDC servers in this project will be integrated with ADDE’s Theatre Management System. Les Cinémas Gaumont Pathé is the leading exhibitor in France and one of the most prominent exhibitors in Europe. Currently it operates 74 cinemas and 757 screens in France 21 cinemas and 156 screens in The Netherlands and 10 cinemas and 70 screens in Switzerland. “GDC servers are very intuitive to use and have been designed for easy installation in the field ” says Didier Rosset president of ADDE. “GDC engineers are very knowledgeable and always reachable for assistance. We have great confidence working with them for Les Cinémas Gaumont Pathé’s rollout program.” “This contract is of special significance to us in that it is GDC’s first major order in Europe. More importantly GDC is honored to work with a prominent and respected exhibitor in Europe - Les Cinémas Gaumont Pathé that demands quality products and services ” says Dr. Man-Nang Chong founder and CEO of GDC Technology. “Since our first installation of digital cinema server a decade ago GDC has grown to become one of the leading server manufacturers with more than 70 percent market share in Asia and number two in worldwide market share of digital cinema servers. GDC is committed to providing the best server technology and services to our European exhibitors.” GDC Technology ,2226
Schmidt Chooses OConnor for The Mechanic,2011-02-14, Eric Schmidt chose the OConnor 2575 to support The Mechanic directed by Simon West. The high-tech action feature about an elite assassin (Jason Statham) out to avenge his mentor’s murder was shot on film at a location in Detroit Shreveport Washington DC and at CIA headquarters in Langley Virginia. “Whether I’m shooting commercials music videos or features the OConnor Ultimate Fluid Head is always my support of choice ” says Schmidt. “When I first saw the script I knew that the OConnor would be crucial to capturing the high-octane action sequences quickly and easily allowing us to pack as much punch in our limited shooting schedule as possible. “There is an incredible scene where Arthur Bishop (Statham) and his protégé Steve (Ben Foster) flee a cavalcade of gun-wielding private security and the only way out is for them to rappel down the face of a 35-story building ” Schmidt says. “The actors decided to do this eight second 385-foot freefall themselves. Schmidt knew he had to get everything right and cover the stunt perfectly putting the audience in the middle of the action the first time.” “This meant using multiple cameras positioned in the most well thought-out places ” he says. “We had A-camera 35 stories up mounted on an OConnor 2575 with its ability to tilt straight down holding a Panavision Millennium with a 21mm lens for the actors as they fell away from the building. Another camera mounted at the base of the building with a Panavision Millennium mounted with a Primo 27mm on an OConnor 2575 was pointing straight up as Statham and Foster rush down the face of the building right at camera. And another camera set up two blocks away out on a street corner on dolly track doing a slow dolly move the drag turned way up on its OConnor 2575 creating a smooth countering to the fall and filmed at 40fps.” “Deciding what gear to use to cover an action sequence is as important as deciding how to cover a scene ” Schmidt says. “Especially one with an awesome stunt at the culmination of it! The moment of a perfect stunt doesn’t happen twice and you have to get it right to do this. It is crucial to select the best equipment under these circumstances because the stakes are so high. That’s why I rely on the OConnor 2575 Ultimate Fluid Head every time.” The Mechanic premiered in the United States Canada & UK at the end of January and is in the midst of a worldwide run. ,2227
Obituaries now available at Diesel Books,2011-02-14, Obituaries a mystery novel by Nick Dager is now available at Diesel Books. The Valentine’s Day discovery of a young Asian woman’s body found frozen in the trunk of her abandoned car is the first of a series of seemingly random deaths that shock rural Dutchess County Ohio. On sale for a limited time for just $.99. Grady Sloan editor of the county’s leading newspaper must solve the mystery before he and the woman he loves become the next victims. Click here to buy the book: ,2228
Reinventing Cinema now available at Diesel Books,2011-02-14, Reinventing Cinema: The First Decade of Digital Cinema by Nick Dager is now available at Diesel Books. In May 1999 Star Wars: Episode 1 – The Phantom Menace opened with digital screenings in a handful of movie theatres in and around New York and Los Angeles: digital cinema’s first decade was underway. Now on sale for only $1.99. Those screenings generated widespread visibility and publicity and developments began to occur on a more regular basis. The Society of Motion Picture and Television Engineers began work on standards for digital cinema in 2001. The Digital Cinema Initiatives formed in March 2002 as a joint effort by Disney Fox MGM Paramount Sony Universal and Warner Bros.  The serious technical groundwork was being laid and the digital cinema era began.

 The challenge? To literally rethink retool and reinvent from the ground up a global industry that had worked successfully for a century. Read that sentence again to get a sense of how overwhelming – and some would and did say unnecessary – that task would be and you may gain a greater appreciation for how much was actually accomplished in a decade. Dager who has been an eyewitness to all the challenges and changes taking place around the world and who is the founder of the website Digital Cinema Report chronicles the people who are using new technology to reinvent motion picture production distribution and exhibition. Click here to purchase the book: ,2229
Omnilab Media Signs VPF Deal with Paramount,2011-02-14,Omnilab Media Cinema Services has signed a virtual print fee deal with Paramount Pictures to partially fund the digital upgrade for independent cinema owners. The deal expected to be the first of six agreements between the major studios and OMCS was employed by the Independent Cinema Owners of Australia last September to assist their members to convert to digital equipment from 35mm projectors. Omnilab Media managing director Christopher Mapp says the negotiation process with distributors for VPF contracts had been long and complex however with the excellent cooperation of the major distributors we are set to sign several more agreements imminently. The number of Australian digital screens rose to 311 in 2009 compared to just 26 in 2006 according to Screen Australia data. OMCS has already completed several digital installations on behalf of independent cinema owners. ICAA chief executive Mark Sarfaty says the ICAA had been working on behalf of all independent cinemas to achieve a positive outcome on digital transition for several years and partnering with Omnilab Media had enabled it to achieve a successful deal. “I know that independent cinema owners will be pleased by this news and are looking forward to OMCS concluding agreements shortly with all distributors so that independent operators will finally be able to complete the expensive transition to digital cinema alongside the major exhibition circuits ” Sarfaty says. ,2230
Rezn8 Hired to Create Mysteria Title Sequence,2011-02-14,Rezn8 a subsidiary of Stereo Vision Entertainment was retained by Tunnel Post to create the title sequence for the murder mystery thriller Mysteria starring Billy Zane Danny Glover and Martin Landau. Being chosen to work with Tunnel Post on this film further demonstrates Rezn8's leading position in the entertainment industry and the opportunities for Stereo Vision to generate an increased volume of profitable business in the coming year says Stereo Vision Entertainment CEO Jack Honour. We're very excited to be working with Tunnel Post and their brilliant team of filmmakers. Their work is on the cutting edge of feature film entertainment and we're very fortunate to be working with them. Tunnel Post's CEO Kyle Jackson says Rezn8's CEO Paul Sidlo and I are working on a number of new projects and we could not be more excited to be working with such a visionary. Paul has led and redefined the entertainment motion graphics and the technology industries for years and years. I think half the brilliant minds in town at one time either applied or actually worked for Paul. Stereo Vision Entertainment Tunnel Post ,2231
Screenvision Carries Be the One PSA in Preshow,2011-02-14, Screenvision is running Women of the Storm’s Be the One PSA within its cinematic preshow touting the importance of the Gulf Coast region in the wake of the BP oil spill. Be the One has run on more 6 400 screens nationwide since January 28th and continues through February 24th. The Be the One PSA features celebrities including John Goodman Wendell Pierce Alfre Woodard Bryan Batt Drew Brees Peyton and Eli Manning James Carville and Harry Shearer.  
 Within select theatres the PSA will boast a state-of-the-art scantag which allows audience members to sign the petition via cell phone directly from their theatre seats. Women of the Storm intend to take these signatures to Washington D.C. to demonstrate the broad national support for restoration of the Gulf Coast.  The non-profit has amassed over 130 000 signatures since the campaign launched 10 weeks ago.  
  “It’s our honor to partner with Women of the Storm in support of its Be the One PSA Campaign ” says Darryl Schaffer executive vice President operations and exhibitor relations Screenvision. “We’ve learned that the Gulf Coast accounts for 40 percent of all shipping and commerce 30 percent of all seafood and 33 percent of the energy supplied to our country therefore truly affecting this nation as a whole.  Our extensive network of screens will allow the Be the One message to reach a vast audience and undoubtedly will assist in raising awareness of the importance of Gulf Coast ecosystem restoration.”  
  Anne Milling founder of Women of the Storm says “We are so grateful to Screenvision. Its far-reaching exhibitor network means we are able to reach and actively engage a huge new audience with our Be the One PSA which is sure to resonate deeply with all Americans.  We’re confident the exposure we’ll receive through Screenvision’s network will exponentially increase the number of signatures on our petition catch the attention of policymakers and opinion leaders and move us ever closer to coastal restoration goals.” Screenvision Women of the Storm ,2232
Southern Theatres begins 283-Screen Rollout,2011-02-14,Southern Theatres is installing 283 Cinedigm screens across 20 existing locations in Alabama Florida Georgia Kentucky Louisiana Mississippi North Carolina South Carolina and Texas. Southern is financing the deployment through NEC Financial. The installations are anticipated to begin in March and be completed by the end of the year. “Upgrading our theatres with state-of-the-art digital cinemas continues Southern’s tradition of delivering the best movie-going experience possible ” says George Solomon president of Southern Theatres. “Cinedigm is a great partner and they understand our desire to offer the best highest quality experience to our audiences.” Solomon has been in the theatre business with his family for more than 50 years. One of Southern Theatres’ newest most innovative theatres is Canal Place which exemplifies the company’s continuing commitment to revitalizing its hometown of New Orleans.   “We are thrilled to welcome Southern to our growing list of innovative exhibitor partners ” says Chuck Goldwater president Cinedigm’s Media Services Group.  “Our team is eager to begin working with the Southern team to help them take full advantage of the operational and the programming applications made available by Cinedigm’s digital cinema platform.” Cinedigm Digital Cinema ,2234
Zeiss Names Abel Cine Tech Authorized Service Partner,2011-02-28,Lens manufacturer Carl Zeiss has appointed Abel Cine Tech a supplier of professional film and digital equipment with facilities in New York City Burbank California and Chicago Illinois as an authorized service partner. Building on years of cooperation between the two companies the aim of the partnership is to allow Carl Zeiss customers in the Americas to benefit from optimized customer service. In particular the partnership will further reduce the amount of down time associated with repairs. In the future local services will be carried out more efficiently and according to the highest quality standards. “The appointment of a Carl Zeiss Authorized Service Partner creates an important foundation for intensifying our cooperation with Abel Cine Tech ” says Josef Kohnle director of operations of the Carl Zeiss camera lens division in Oberkochen Germany “Our clients in America can now send their lenses directly to Abel Cine Tech for maintenance and repairs. The professional and localized customer service will guarantee quick and smooth service and increase effectiveness.” “We’re delighted with the special trust Carl Zeiss has placed in us through this official partnership ” says Pete Abel president/CEO of Abel Cine Tech. “We will use our experience and technical know-how to build awareness among Carl Zeiss customers in America for its products and to provide the outstanding performance and quality for which Carl Zeiss lenses are renowned the world over.” For Carl Zeiss the appointment of a Carl Zeiss authorized service partner marks the next step in the expansion of its new multi-step service program for which in principle every dealer and service provider active in the cinematography industry could apply and qualify. Qualification would take the form of training by Carl Zeiss partners as well as the provision of special tools that ensure that the company could guarantee a uniform level of service for all its customers. Abel Cine Tech Carl Zeiss Group ,2240
Inception Earns Top Honors from Cinematographers ,2011-02-28,Wally Pfister Jonathan Freeman and Stephen Windon claimed top honors in the three competitive categories at the 25th Annual American Society of Cinematographers Outstanding Achievement Awards celebration. Pfister won the ASC Award in the feature film competition for Inception. Freeman earned top accolades in the television episodic category for Boardwalk Empire (HBO). Windon was the recipient of the television movie/miniseries award for The Pacific (HBO). All of the nominees here tonight earned the respect of their peers said Richard Crudo chairman of the Awards Committee. Once again they showed the world that while cinematography requires mastering a complex craft the art of telling stories with moving images comes from the heart and soul. The ASC Award for best feature was presented by Oscar-nominated actress Diane Lane who said At their best movies have the power to immerse us in other worlds and inspire us to look at our own lives through different eyes. Pfister who was regrettably not able to attend was previously nominated by the ASC for Batman Begins (2006) and The Dark Night (2009). This is his first win. The 25th anniversary of the ASC Awards is a celebration of the best that we can be and an inspiration for those who will tell memorable visual stories in the future said ASC president Michael Goi. It is a milestone in our ongoing celebration of the power an indelible photographic image has to move an audience influence social change and communicate who we are within a snapshot in time. American Society of Cinematographers ,2242
Gajda Returns to Cinedigm Digital Cinema ,2011-02-28, David Gajda has returned to Cinedigm as chairman of Cinedigm Software.  In this advisory role Gajda will work alongside Jim Miller president of Cinedigm Software. Gajda was a co-founder of Hollywood Software which was acquired by Cinedigm in 2003.

  A well-known and respected leader in the entertainment technology sector Gajda has helped many of the top entertainment companies including Sony Pictures MGM Studios EMI Music Universal Music and others develop long term technology strategies. “David is one of the most innovative executives in the entertainment software business and we are pleased to have him back ” says Chris McGurk chairman and chief executive officer of Cinedigm. “He is the latest in a string of strong additions to our leadership team including Peter Brown former chairman of AMC Entertainment joining our board and the investment and board participation of Sageview Capital. We are poised for the next phase of Cinedigm’s evolution which includes an increased international focus as well as identifying business development opportunities partnerships and potential acquisitions in the entertainment software arena. David is the perfect addition to help us achieve our growth objectives in these areas.”

 “I’m glad to be back at a time when the industry has achieved critical mass with digital cinema installations and is now able to take advantage of the technology innovations and cost saving opportunities from the platform that Cinedigm has been developing ” says Gajda. Cinedigm ,2244
Doremi Receives 4K-Technology Patent; Cinemark First Customer,2011-02-28,Doremi has been awarded a 4K-technology patent. The company’s 4K-technology development was initiated five years ago with the intent of being integrated into Sony’s 4K-cinema system. This engineering effort was carried on to afford Doremi the position as today’s only commercially available 4K system for Texas Instruments’ DLP Cinema 4K platform. The core product to date of the 4K technology is Doremi Cinema’s IMB-4K (Integrated Media Block). Utilizing the company’s patented 4K decoding technology the IMB-4K is a fundamental building block in accomplishing the pristine playback of 4K resolutions on the big screen. The IMB-4K will be demonstrated at the upcoming CinemaCon exhibition in March along with Doremi’s cohesive 2K/4K playback and mastering line of products. In related news Cinemark Theatres has taken delivery of the first IMB-4K allowing them to simply update their existing 2K IMBs to deliver full 4K decoding capabilities within the DLP Cinema Enhanced 4K.  The update at Cinemark’s West Plano Texas theatre is the first to be updated within the circuit. “When we started our 4K endeavor in 2009 we relied on Doremi to develop a reliable 2K/4K solution that did not require a hardware replacement to achieve 4K ” says Alan Stock CEO of Cinemark.  “Doremi has delivered as promised and we now have a simple easy way of updating all of our DLP Cinema Series 2 projectors without having to send a technician into the field.  All Doremi upgrades are scheduled to be done remotely through the Cinemark network operation center.” “We have set a precedent over the last five years to ensure our customers always have the ability to obtain the latest technology ” says Michael Archer Doremi’s vice president digital cinema.  “The issuance of this patent is a tribute to the vision and fortitude of our engineering team to keep Doremi ahead of our competition.” “We are very pleased to be able to email our 4K upgrade to Cinemark ” Archer says. “Designing and manufacturing our own IMB gives us the greatest flexibility to meet the demands of our customers and the requirements of the industry.” Cinemark ,2247
BBC Buys Ten DSC Labs Test Charts,2011-02-28,BBC Studios and Post Production has purchased 10 of DSC Labs test charts for camera calibration. BBC S&PP will be utilizing the charts in its brand-new 3D production studio and on the set of its award-winning flagship primetime continuing drama EastEnders. The new 3D production studio was fitted with two of DSC's Fairburn 3D Charts as well as a Standard BackFocus. The studio currently possesses two mirror beam splitter 3D rigs which allows for a small interaxial distance between the centers of the lenses. Each Fairburn 3D Chart will allow engineers and DP's to accurately set the IA convergence and geometry as well as ensure that the pairs of lenses are matched in terms of breathing ramping zoom and focus adjustment range. In addition these charts will be used to ensure colorimetry accuracy both between L/R cameras and between the two rigs. DSC Labs shipped three 11-step crossed greyscale charts as well as a MultiBurst a ChromaDuMonde 24 a BackFocus and a Tricia with Color Bars to the set of BBC's EastEnders – one of the most-watched television programs in the UK. Shot at the BBC Elstree Centre in Borehamwood Hertfordshire EastEnders recently upgraded its SD transmissions to HD. DSC Labs ,2248
Eurolab Installs a Marquise Technologies Mist,2011-02-28,Eurolab one of the key film labs in Italy has acquired a Marquise Technologies Mist to install with their telecine suite. Eurolab needed an alternative to traditional film to tape workflow for their transfers. They have found in Mist an ideal answer: Mist like a VTR would do captures the video signal directly into data (DPX Cineon QuickTime etc). As a virtual telecine Mist is able to perform a best light or scene-by-scene transfer thanks to its primary grading and scene detection functions. Mist also offers the ability to render the data files into any other type of format like JPEG2000 for further purpose. “Our telecine suites are still working a lot and we needed a tool more flexible more future-oriented than a traditional VTR ” says Andrea Terilli operations manager at Eurolab.” Not only replacing a VTR Mist is also directly connected to the company SAN with fiber channel. The transferred media are now immediately available for the editing rooms in a workable format in HD resolution. “We are very happy about this installation at Eurolab ” says Laurence Stoll CEO of Marquise Technologies. “It illustrates exactly the purpose of Mist a flexible DI deck able to bridge the video world with the data world in a very efficient and cost effective way.” Marquise Technologies ,2250
Fancy Film Upgrades Color Capabilities,2011-02-28, By Sammy Loren Fancy Film a boutique post house located in the Silver Lake neighborhood of Los Angeles has invested in Digital Vision’s Nucoda FilmMaster. 

“Digital Vision makes great finishing systems ” says Bill Macomber owner and lead editor of Fancy Film. “But what gets us excited is that we’re coloring on one of the best systems in the world.” With a roster of projects ranging from documentary and reality series to features and music videos Fancy Film sought a system that wouldn’t restrict their creativity or their budget. Unlike applications such as Apple’s Color or Adobe’s After Effects the Nucoda Film Master allows finishers to view their efforts in real-time. “Producers and directors do not have the time or the money to sit around an editing suite waiting for projects to render ” says Macomber. “Now that we have a Nucoda Film Master clients can review the project and see changes in real-time.”

 “In terms of color enhancement you just can’t beat the FilmMaster ” says Michael Smollin Fancy Film’s lead colorist. “It can essentially create a color palette unachievable on other systems.” On one recent project Underwater Universe a documentary series for the History Channel the images pop from the screen. “On this show I worked with very demanding underwater footage which has differences in lighting moving layers and challenges in matching ” says Smollin.  “The Nucoda helped me get where I needed to be with flexibility and speed.” The upcoming year is set to be Macomber and company’s busiest yet with an indie feature and television series in the pipeline. ,2252
IFTA Releases Worldwide Box Office Grosses,2011-02-28, The Independent Film & Television Alliance has released its first annual compilation of worldwide box office grosses for the top-50 Independent films of 2010. Non-English language films comprised more than one-third of the total globally according to the IFTA. Films from Japan led the non-English titles with nine out of 13.
Japan’s three top earners collectively grossed nearly $300 million and all of them were among the top-20. French films secured two places on the Top-50 list followed by Italy and Brazil with one each.
Meanwhile Twilight Saga: Eclipse topped the list grossing $698 491 000 worldwide. Thirty-seven English-language titles made the list overall.
  “The talent and imagination of the independent film industry is evident throughout the world ” says IFTA president and CEO Jean Prewitt. 
 Among non-English films Japan secured the No. 9 position with Karigurashi No Arrietty (The Borrower Arrietty) which grossed $114.1 million. It also scored with two other top worldwide performers:  Umizaru: The Last Message with $95.5 million at No. 12 and Odoru Daisosasen 3 ) Bayside Shakedown 3) grossing $83.2 million to place No. 15.

Brazil’s Portuguese-language Tropa De Elite 2 (Elite Squad 2) finished 25th with $61.5 million. France’s highest-ranked entry was Le Petits Mouchoirs (Little White Lies) in 34th place at $47.3 million. Italy’s Benvenutial Al Sud landed at No. 43 with $41.5 million.
 IFTA compiled the top-50 list based on data from Rentrak Box Office Essentials.
  The Independent Film & Television Alliance ,2253
FDA Approves Kodak Laser Projection Technology ,2011-02-28, The US Food and Drug Administration has approved a variance that allows for the sale of Kodak Laser Projector Systems using Kodak Laser Projection Technology to cinema exhibitors without the need for individual site or show operator variances. This is an important step forward in delivering brighter 2D and 3D images that provide higher dynamic range and a wider color gamut to theatres. “The FDA approval brings Kodak Laser Projection Technology significantly closer to the marketplace and validates the work we’ve done to ensure that this technology is safe and dependable ” says Les Moore Kodak’s chief operating officer for Digital Cinema. “In addition to allowing the sale of Kodak Laser Projector Systems using Kodak Laser Projection Technology the FDA variance serves as a template to be followed by manufacturers that we license to incorporate this new laser technology.” Typically digital projection systems using high power lasers fall under the definition of a “demonstration laser” and must follow existing regulations for conventional laser projectors such as those used in laser light show displays. Kodak has been working in conjunction with laser safety consultants and the FDA to address potential safety issues. The unique optical design of Kodak Laser Projection Technology manages the projector output so that it can be considered to be similar to conventional Xenon projection systems. The FDA variance allows the sale of Kodak Laser Projector Systems with Kodak Laser Projection Technology and theater/show configurations incorporating them. Kodak Laser Projection Technology promises to bring vastly improved image quality to theater screens including significantly brighter 3D viewing and to dramatically reduce costs to digital projection in cinemas through the innovative use of long-life lasers lower-cost optics and more efficient energy usage. Kodak introduced its laser technology in September 2010. The technology has been received enthusiastically by exhibitors manufacturers studios and viewers who have seen the demonstrations. Moore says that Kodak Laser Projection Technology is a key ingredient to potential improvements in digital cinema picture quality for both filmmakers and moviegoers. “This laser technology is a significant breakthrough that promises to have a positive ripple effect throughout the cinema world ” adds Moore. “We at Kodak have always endeavored to provide filmmakers with the best possible tools with which to tell their stories. That philosophy has served us well for more than a century and we will continue nurturing that partnership long into the future.” Kodak is in discussions to license this advanced technology with an eye toward marketplace implementation within the next two years. Kodak ,2255
Marcus Signs Long-Term Extension with Movie,2011-02-28, has announced a long-term extension with Marcus Theatres Corporation. Since 2000 has been the exclusive online ticketing partner for the theater chain’s 55 locations consisting of 684 screens across major Midwest markets. “Marcus Theatres plays a critical role in our coverage throughout the Midwest ” says Joel Cohen chief executive officer “We are pleased to extend our partnership with Marcus Theatres and to remain fully committed to providing its audience with unparalleled movie ticketing services.” 

 “ is a great partner that continues to provide our audiences with innovative ways to purchase movie tickets in advance ” says Bruce J. Olson president of Marcus Theatres. “Bolstered by its extensive network of affiliates has increased our online ticket sales by more than 100 percent in the past four years.  When the time came to extend our agreement it was an easy decision.” Marcus Theatres ,2256
Lerner Shoots Diaphanous Breeze Music Video,2011-02-28, Denver-based Director of Photography Rich Lerner has purchased the new Panasonic AG-AF100 large imager HD cinema camcorder for production assignments ranging from documentaries to independent films to commercial spots. His first AF100 project was a music video Diaphanous Breeze for an original composition written and performed by pianist Lisa Downing. On the Diaphanous Breeze Lerner interspersed performance scenes with time-lapse footage of clouds. He shot with the image-stabilized Lumix G Vario HD 14-140m micro 4/3-inch superzoom lens and worked with the AF100 on a slider. “The footage is really pretty ” he says. “Considering its feature set the AF100 is turning out to be impressively affordable.” Lerner was DP for the Academy Award-winning short documentary A Story of Healing and DP on the national Emmy Award-winning documentary The Urban Elephant for the series Nature. He has shot several projects with Panasonic camcorders—most recently the feature thriller Juncture with the AG-HVX200 P2 HD handheld and a documentary profiling engineers without borders with the AG-HPX170 P2 HD handheld—and has invested in the company’s camera products for more than a decade. Lerner says the impetus for the AF100 purchase was a challenging location shoot in Hawaii last summer where he used two different HDSLRs. “Based on my familiarity with Panasonic cameras and the initial AF100 specs I just knew it would be easier working with a camera that had been optimized for shooting video ” he says. Lerner bought his AF100 from Abel Cine Tech in New York. “Indeed there are huge benefits with the AF100 ” he says. “Professional interfaces like uncompressed 4:2:2 HD-SDI out and HDMI out are standard. There are two switchable XLR inputs built-in and full audio monitoring both lacking in an HDSLR. You get the range of controls a cinematographer relies on: exposure adjustable zebras pedestal and detail a vectorscope and waveform monitor and so on. Also the configuration and body style are familiar.” “The AF100’s eye focus is superior with a high-quality LCD sidefinder and viewfinder ” Lerner says. “There’s no struggling with focus as there is with HDSLRs which is very important for documentary work. Because the camcorder has an interchangeable micro 4/3-inch lens mount I can utilize the film-style lenses that I already own which is highly cost-effective.” Lerner will shoot his next assignment the pilot episode of a dramatic series with the AF100.
 For more information about cinematographer Rich Lerner and to view the Diaphanous Breeze music video visit his website Panasonic ,2257
Documentary on Immigration Premieres in Oklahoma,2011-02-28, With almost 30 immigration related bills set to hit our state legislators this year the documentary Panic Nation takes an intense look at how state sponsored immigration laws have taken a foot‐hold on America. The film was made by producer/director George Adams and had its premiere last month in his home state Oklahoma.
 Oklahoma House Representative Randy Terrill has nearly 20 bills he’s proposing for the current legislative session. He wrote HB-1804 and appears in the film along with Rep. Shane Jett As Terrill defends the need for such immigration laws like HB1804 the film documents both sides of this emotional issue. Ruben Navarrette Jr. a two‐time Harvard graduate syndicated columnist CNN contributor and an expert on this debate points out “We have a broken border we know that.  But we also have a broken dialogue.”
  Other Oklahomans who are prominently featured in the film include Latino Community Development Agency’s CEO Patricia Fennell Father Don Wolf and cotton farmer from Altus Tom Buchanan.  Also appearing in the film are former White House cabinet member Henry Cisneros multi‐award winning writer of Sesame Street Luis Santeiro and multi‐award winning actor Esai Morales along with other citizens experts and business owners.
  Adams who has screened the film to audiences in Washington Arizona New Mexico California Utah Kansas and Mexico says “This is a highly emotional issue and I hope I’ve gotten to the heart of the matter. We need to be honest with ourselves as a nation as to how we got here what we need and want as a country before we can achieve real solutions. If I can get people to react in a positive and productive way when addressing the immigration issue then the film will be successful.”
 This motion‐picture is produced by the multi‐award‐winning production team of Adams and Klaudia Kovacs whose film Torn from the Flag about the fall of Communism and the Hungarian Revolution of 1956 was viewed by scores of people around the world.  Their film was screened at 17 festivals in five countries garnering eight different awards including a run at the 2009 Oscars.
 Panic Nation ,2258
Reel Cinemas to use Arqiva Satellite Distribution System

,2011-02-28, One of the UK’s leading independent cinema chains Reel Cinemas has signed a contract with Arqiva’s digital cinema partners XDC to deploy satellite distribution at all of Reel Cinemas’ UK sites.

 George Eyles head of digital media networks at Arqiva Broadcast & Media says “We are delighted that Reel Cinemas has selected Arqiva’s Digital Cinema Satellite Distribution System for their entire UK circuit.  This 100 percent commitment underlines Reel Cinemas’ confidence in both satellite-based delivery and in Arqiva as the satellite-based delivery platform of choice.  Our professional receive equipment will be installed at each Reel Cinemas location enabling them to receive regular and reliable electronic delivery of DCPs and live content via our IS905 platform.”
 Arqiva ,2259
RealD and Toshiba Form Marketing Alliance,2011-02-28,RealD and Toshiba Corporation have entered into a marketing and promotions alliance for the upcoming feature film event Carmen in 3D filmed at the Royal Opera House Covent Garden. As part of the agreement Toshiba will receive presentation rights for the film's worldwide theatrical release and exclusive rights during a promotional period to package 3D Blu-ray Discs of Carmen in 3D with select 3D-enabled Toshiba brand devices. Additional marketing promotions and public relations activities are planned in support of the alliance. Filmed in 3D during two performances at the Royal Opera House Carmen in 3D is a feature film depicting acclaimed director Francesca Zambello's updated interpretation of the opera classic. Directed for cinema by Julian Napier and produced by Phil Streather with memorable performances by Christine Rice (Carmen) Bryan Hymel (Don JoseI) Aris Argiris (Escamillo) and conducted by Constantinos Carydis Zambello's hugely successful production of Carmen was a hit with London audiences and critics. Carmen in 3D is a first of its kind theatrical entertainment event and we look forward to working with Toshiba on this extension of our relationship to jointly market the property across cinema and consumer electronics says Robert Mayson president of consumer electronics at RealD. As Carmen in 3D is added value content exclusively available to our exhibitors worldwide we are pleased to collaborate with Toshiba and bring similar added value to a technology licensee in the consumer electronics space. Carmen in 3D is a rich and immersive performance delivering a refreshing and innovative approach to a timeless work of art creating a sense of really being at the theatre says Masaaki Osumi corporate senior vice president president and CEO visual products company at Toshiba Corporation. As an innovator in 3D including the world's first glasses-free 3D LCD TVs Toshiba is delighted to ally with RealD a 3D industry leader and the world renowned Royal Opera House. We hope we will drive forward the 3D market in both hardware and content through the promotion of this extraordinary film. A co-production by RealD and London's internationally renowned Royal Opera House Carmen in 3D is slated for release worldwide on March 5 exclusively in RealD-3D equipped theatres. Carmen in 3D RealD Toshiba ,2260
Screenvision Partnered with Nike on Black Mamba,2011-02-28, Screenvision reached an exclusive deal with Nike to premiere the new six-minute concept film starring Kobe Bryant and directed by Robert Rodriguez in Los Angeles area movie theatres.
 The short film titled The Black Mamba was part of the featured preshow entertainment before PG13 and R rated films in Los Angeles-based Screenvision theatres on February 19th timed to the 2011 NBA All-Star Weekend festivities in which the city was playing host. The film’s exclusive Screenvision in-cinema engagement ran through February 24th.
 To promote Nike's short film Mann Theatres was showing it at all seven of their LA theatres including the world renowned Grauman's Chinese starting February 19th.  In addition Kobe fans and moviegoers had the chance to win special Nike Black Mamba product at Grauman's on February 20th with a unique giveaway promoted on Facebook and Twitter.
  Screenvision ,2261
Rooftop Films Presents a Free Screening of Up with Me in the Bronx ,2011-02-28,On Thursday March 3rd Rooftop Films is back at the Bronx’s Bruckner Bar and Grill with Greg Takoudes' gripping drama Up with Me. This gritty charming and dynamic narrative feature was created as a collaboration between director Greg Takoudes' and at-risk youth at the East Harlem Tutorial Program. The screenplay is based on months-long writing workshops with the teenagers who then starred in the movie and—when they weren't acting in scenes—helped crew the set. “I wanted to turn these teens into filmmakers ” Takoudes said in IndieWire “to teach them film skills and make our movie in a way that the creative responsibility for the film rested as much with the teens as with me. I thought that if they understood this responsibility that they would rise to the occasion. And they did.” The story they created tells of a Harlem teenager whose love and loyalty are put to the test when he is offered a prep school scholarship upstate. “In school they taught us about great civilizations. But one day they’ll count Harlem as one of them and they’ll count us. No billionaire wants so much as us. . . . No one ever loved like I love Francisco. There were no better friends than ours.” When Francisco receives the scholarship he is torn between his life at home—his loyal girlfriend and his jealous best friend—and the new opportunities offered by his new environment. Francisco wants the education but doesn’t want to change. In a brilliant act of narrative restraint the filmmakers barely show Francisco at the new school for most of the movie leaving the audience wondering (like his friends) what the upstate academy is actually like for him. In tough and disadvantaged neighborhoods people always face a dilemma choosing between local pride and worldly desire between staying loyal and seeking a better life. Up with Me has both Francisco and the audience asking how do you improve yourself (or even define “improvement”) in ways that don’t alienate your friends your loved ones your community? ,2264
Alcons Introduces CSS3 Surround Loudspeaker,2011-03-14,Alcons Audio has introduced the CSS3 a two-way ultra-compact cinema surround loudspeaker designed to meet the requirements of digital cinema content today and in the future. Featuring a one-inch soft-dome tweeter with single 6.5-inch HiFi-grade woofer the CSS3 delivers exceptional performance from a highly compact and efficient package says the company. Used together with the CR1 ultra-compact three-way front system and CB181s ultra-shallow subwoofer it forms a package for small to medium home theatres cinemas screening rooms and post-production studios. A 15-degree slanted baffle together with the wide horizontal dispersion caters for a smooth LF/HF blending in installations where the surrounds are mounted closely to the audience. The enclosure design provides for low profile wall mounting with the reflex vent located on the underside of the cabinet and the CSS3's dedicated bracket enables optimized projection. The 16 ohm impedance enables economical powering up to 16 units (2 ohms) on an ALC amplified loudspeaker controller (two channels driven) and the system includes dedicated (passive) filtering and system equalizing. The CSS3 is powered and controlled by the ALC amplified loudspeaker controller; through the SDP (speaker drive processor) circuit the ALC offers CSS3-specific drive processing with response optimization dedicated power and excursion protection delivering maximized performance with full system reliability and minimized maintenance. Alcons Architect Color Option ACO means that the CSS3 can be ordered in more than 180 different RAL colors the standard European architectural color matching system. Alcons Audio ,2270
Alexander Street Press Acquires Filmakers Library,2011-03-14,Electronic publisher Alexander Street Press has acquired the New York-based distributor of documentary films Filmakers Library. Alexander Street plans to launch the complete Filmakers Library as a subscription-based online streaming database Filmakers Library Online in the next month or so. Eventually the publisher will also make it possible for libraries and educational institutions to order individual films via the Alexander Street streaming platform. Stephen Rhind-Tutt president of Alexander Street Press says This is a wonderful match. Together we'll be able to give library and education customers the best documentary content on the most flexible delivery platform. Filmakers has a long history of service to filmmakers and librarians. We feel honored to be continuing the tradition. Linda Gottesman and Sue Oscar founded Filmakers in 1969 to distribute high quality issue-based documentaries to the educational market. Over the past 40 years it has brought a wide range of titles from around the world to a receptive academic audience. Recent award-winning titles include films such as Original Intent: The Battle for America; Who Killed Vincent Chin?; Prison Lullabies; The Danish Solution: The Rescue of the Jews in Denmark; and Muslims in Love. Gottesman This new relationship ensures that the Filmakers Library of documentary films will reach an ever wider audience. Oscar agrees. It will be easier than ever for faculty and students in particular to access these films -- wherever they are whenever they want to watch. Filmakers Library is thrilled that the collection will have a new life in this new medium and we're confident that Alexander Street will maintain the high standards for which we are known. Oscar and Filmakers director Andrea Traubner will remain with Filmakers following the acquisition both based out of the Filmakers offices in New York. To learn more about the Filmakers collection of videos visit To learn more about the launch of Filmakers Library Online visit ,2271
Barco Acquires XDC CineStore,2011-03-14, Barco has acquired the CineStore activities of cinema solutions provider XDC. The company says the acquisition fits within Barco's broader strategy to move from digital projection supplier to provider of total cinema visualization solutions.

 XDC's CineStore team based in Liege Belgium will bring software and market knowledge of the digital cinema business. XDC has more than ten years of experience in graphical user interface design and theater management systems for the digital cinema industry.

 Last year Barco also acquired the digital signage expertise of dZine. With the addition of CineStore the company says it can now offer its customers an integrated theater management system spanning both the theater and the lobby while at the same time strengthening its software capabilities. Moreover the acquisition will enable Barco to also deliver solutions for content play out. CineStore's activities are a strong value-added complement to our existing digital cinema offering. Adding CineStore's skills and experience to our business will allow us to further strengthen our market position while maintaining our key strong points of interoperability and highest image quality says Wim Buyens vice president Barco Digital Cinema. We stand by our strategy not to be a VPF integrator. Instead we will remain focused on supplying visualization technologies and products for the professional digital cinema community. 

 XDC Group CEO Serge Plasch says Barco and XDC share a long history of collaboration in digital cinema. Our decision to sell the CineStore activities was prompted by our strategy to focus on service to exhibitors while becoming the leading European cinema integrator. XDC will also increase its activities in integrated cinema software solutions network and content delivery services. Within this strategic framework CineStore capabilities are no longer considered core business. 

The acquisition of CineStore activities is scheduled to be closed by the end of March. ,2273
Major Funding Announced for British Columbia Film Industry,2011-03-14,Lynne Yelich Minister of State for Western Economic Diversification has announced $1 479 000 in funding for Capilano University and the Motion Picture Production Industry Association of British Columbia to strengthen the local film industry. B.C.'s film industry generates thousands of jobs and is a strong economic force in this province. The purchase of equipment for Capilano University's Bosa Centre will help film students and existing industry professionals in B.C. ensure that their skill set remains current in this competitive market says Yelich. And thanks to our investment in the MPPIA these very students will be able to transition into a stronger and more productive film industry. $969 000 in funding for Capilano University will equip its new Nat and Flora Bosa Centre for Film and Animation. With this investment Capilano University will purchase stereoscopic 3D equipment including cameras monitors two S3D camera rigs and other supporting technology for the Bosa Centre. The university will train students to use S3D technology and offer opportunities for those currently employed in the B.C. film industry to upgrade their skills. Digital S3D is the leading-edge technology in cinematography and it is important that the western Canadian entertainment industry and institutions are equipped to take advantage of the arising opportunities says Yelich. Digital technology including 3D for animation and gaming is the future of the entertainment industry. As a result of this initiative B.C. will strengthen its position as a premier destination for film production. We're absolutely delighted that Western Economic Diversification Canada has recognized the value of investing in our spectacular new Bosa Centre which will ensure that students and industry workers are provided with the necessary tools for creating excellence in their productions says Capilano University's president and vice-chancellor Dr. Kris Bulcroft. This generous contribution will go a long way towards supporting our film and animation programs that are essential to their industry's growth. A second investment of $510 000 will help the MPPIA deliver a three year strategy designed to market and attract investment into B.C.'s film television and digital production industry. Building on exposure received during the 2010 Winter Olympic and Paralympic Games the MPPIA will develop marketing materials workshops an information-sharing database and undertake investment missions to the United States Europe and Asia. We are very pleased that Western Economic Diversification Canada is investing in the British Columbia film and digital entertainment production sector and its role in western Canada's growing knowledge based economy says Motion Picture Production Industry Association of BC chairman Peter Leitch. This funding significantly increases the opportunity to showcase the strengths of the British Columbia industry in key international markets and achieve a greater share of the world's entertainment production in an increasingly competitive global environment. Canadian-based film and television production is one the country's key economic sectors. In 2009/2010 alone the total volume of production in Canada totaled $4.9 billion. The industry employs an estimated 117 200 individuals on a fulltime basis including 46 100 jobs directly in film and television production and a further 71 100 spin-off jobs in other industries in the Canadian economy. ,2276
Cine Gear Expo to be held June 2-5 in Hollywood,2011-03-14,This year’s Cine Gear Expo will be held on June 2-5. More than 12 000 participants are expected to take part. The event will be held on the New York Streets back lot stages and theaters at The Studios at Paramount in Hollywood. A film competition to be held June 2-3 is also part of the event. Winners will receive production prize packages valued over $130 000 in goods and services.      Cine Gear Expo ,2277
Cripps Ochs to Keynote at CinemaCon International Day Breakfast,2011-03-14, Andrew Cripps president of Paramount Pictures International and Millard L. Ochs president of Warner Bros. International Cinemas are slated to give the keynote addresses as part of CinemaCon’s International Day. The keynote addresses will take place at the International Day Breakfast on March 28. 
 Mitch Neuhauser managing director of CinemaCon says “As our industry continues to evolve around the world it is imperative that cinema owners and operators keep up to date with the ongoing changes within the industry. Both Millard L. Ochs and Andrew Cripps will be able to provide valuable insight to the state of the industry in regards to international exhibition and the current state of international distribution. We are delighted they are joining us to kick off the inaugural edition of CinemaCon and we are excited to be able to provide the international exhibitors attending CinemaCon with the opportunity to hear a keynote address that we believe will be timely topical and memorable.” Cripps has been president of Paramount Pictures International since its inception in January 2007. Ochs has served as president of Warner Bros. International Cinemas since 1994 having been named to the post six months after joining the company. CinemaCon ,2278
Goodrich Theatres Signs with Doremi Cinema ,2011-03-14,Michigan-based Goodrich Quality Theatres has reached an agreement with Doremi Cinema for the complete implementation of Doremi’s playback servers in their digital cinema rollout. The digital conversion and installation phase started last year and will be finalized by the end of 2011 with theaters spanning across four states. Headquartered in Grand Rapids Michigan Goodrich Quality Theatres has innovated changed and grown with the industry dating back to 1930 when it had just one screen.  Today Goodrich operates a chain of thirty theatres and 277 screens in Michigan Illinois Indiana and Missouri. “With digital cinema in mind Doremi was our provider of choice due to several factors most notably the superiority of their products and support ” says Martin Betz chief operating officer of Goodrich Quality Theatres. “Reliability is a major concern in our industry and we have experienced that firsthand with Doremi servers throughout our first installation phase in 2010. Doremi’s future proof solutions have also contributed greatly to our decision their innovation and vision have allowed us to effectively deploy our digital rollout and guarantee an equally efficient upgrade path as the industry changes.” Beth Figge senior sales manager of Doremi Cinema says “We were thrilled to work with Goodrich Quality Theatres on their initial digital deployment and are honored by their confidence in our digital playback servers. We are looking forward to our collaboration for this next phase of installations.” ,2281
New York Cinematographer Ed David Hangs Up His HDSLRs,2011-03-14, New York City-based cinematographer Ed David says he has hung up is HDSLRs in favor of a new camcorder for his work for Lifetime Networks. Among others his assignments have encompassed shooting a series of promos for Lifetime in which women were interviewed about the network’s movie offerings. 
 David has made the new Panasonic AG-AF100 large imager HD cinema camcorder his go-to camera on commercial shoots.  David says “The moiré and other image degradation inherent in DSLRs are simply not an issue with the AF100. The camcorder is excellent in low light and produces a really nice clean image with the prized Panasonic colorimetry with plenty of room to do good grading in post.”
 “It’s a tremendous time-saver to be able to record sound straight into the camera ” David says. “I like the AF100’s classic form factor: it looks like a Bolex to me. It’s lightweight with low power consumption and it’s easy to pick up and shoot with it especially if you’ve worked with an HVX200 P2 HD handheld. The LCD monitor shows huge improvements in resolution and daylight display over earlier Panasonic camcorders.”
  “With an HDSLR you never know what will happen in post ” he says.  “With the AF100 I know I can tweak luminance shadows and highlights if desired. And the AF100 affords an image sharpness that you can’t get with an EX1 in combination with a lens adapter. Having to use a lens adaptor with the EX1 requires an insane amount of light and softens an image.” 
 David says that has alternatively shot 1080P at 24Mbps or recorded uncompressed 4:2:2 output to a nanoFlash solid-state drive. The various AF100 projects have been edited in both Avid and Final Cut Pro; working with AVCHD is seamless he says.
 Ed David   ,2282
Dana Christiaansen Wraps Spots for Jeep and Suzuki,2011-03-14, Respected for his work on high-profile automotive commercials director of photography Dana Christiaansen recently shot commercials for both Jeep and Suzuki. Christiaansen is known for capturing delicate detail on the rugged terrain of challenging car and truck shoots. The Suzuki material was shot for Siltanen and Partners Advertising using the Fujinon PL mount 14.5-45mm T2.0 18-85mm T.20 and the 75-400mm T2.8-T3.8 zoom lenses on an Arri Alexa digital camera. For Jeep via Publicis/Leo Burnett he used the Fujinon Premier Series 18-85mm T2.0 zoom on an ARRI 435 film motion picture camera.
  “I still remember the first time I looked through a Fujinon 18-85mm T2.0 lens mounted on an Arri 435 at Otto Nemenz ” Christiaansen says. “I was amazed at the crisp image at 18mm. It was sharp from edge to edge no softness around the perimeter of frame and no light falloff. The image just seemed to jump off the ground glass at me.” 
 The visual approach on the Suzuki spots made this an ideal job for a full set of Fujinon PL Mount zooms according to Christiaansen: “Some of the great advantages of the Fujinon Premier Zooms are the incredible sharpness and flat field of focus these lenses offer at wide open apertures along with the lack of any noticeable distortion. I was locked into a parking lot location with very little variety in the backgrounds.  I used longer focal lengths and kept the aperture wide open so the images would benefit from softer backgrounds.” Christiaansen used Tiffen ND’s to filter down on every shot to a T2.0 on the Fujinon 18-85mm zoom or a T2.8 on the 75-400mm zoom to defocus the background as much as possible. 
During the Jeep shoot Christiaansen again relied on the speed of the Fujinon 18-85mm by taking advantage of the Premier’s image quality at T2.0 while shooting dark overcast exteriors. The Jeep shoot differed slightly. The concept involved Jeeps driving within a large landscape. Christiaansen used the 18-85 on the wide end for most setups. However the shoot encountered the flat low-contrast light of rainy December days common to the north of Santa Barbara County California. “Being able to shoot wide open at T2 and minimize the depth of field helped separate the cars from the background at that location ” he says. “The Premier PL zooms provided a sharp prime lens feel that helped define detail in the environment and in the hero cars.” ,2283
Seventeenth HPA Tech Retreat Called a Success,2011-03-14,The Hollywood Post Alliance produced another sellout event as the 17th Annual HPA Tech Retreat brought together the leaders of the post-production and broadcast industries for four days of seminars panel discussions and technology demonstrations covering a broad range of issues that will shape the future of their world. This year’s event drew a record crowd of over 500 professionals including representatives of leading studios broadcasters post-production facilities and manufacturers attracted by the Retreat’s emphasis on substance over sales pitches and relaxed collegial atmosphere. “We are so proud that the Tech Retreat has become a must attend event for the veritable who’s who of our industry ” says HPA president Leon Silverman. “The program the people and the location help to fuel an incredible exchange of ideas and information.  This event provides an opportunity to get information and access to people that just can’t happen anywhere else. Our attendees leave the Retreat energized and with a head full of vital knowledge.” This year’s retreat included an all-day Supersession on “snowflake” workflows with presentations on on-set dailies the Academy of Motion Picture Arts and Sciences’ Image Interchange Framework (IIF) and 3D library mastering as well as lively case studies on innovative workflows used for the television series Community and Homeland. The day concluded with in-depth seminars on the groundbreaking production and post production techniques used to make the films The Social Network and Tron: Legacy. “The Supersession delved into issues that we all face today in the digital age—and showcased the remarkable work that is being done to create practical solutions ” says Laser Pacific general manager Ron Burdett who served as one of the panelists. “The Supersession was extremely popular and is likely to become a fixture of the Tech Retreat in years to come.” 3D was another hot topic providing the subject matter and fodder for debate in several sessions. Tech Retreat Chair Mark Schubin discussed alternatives to current two-lens systems for 3D films. The popular Breakfast Roundtables included presentations on 3D stereo workflows Live 3D and 3D Image Quality Metrics. The Retreat’s Broadcast Panel proved to be one of the liveliest sessions as representatives from Ericsson Television ABC NBC CBS PBS NAB Fox Sinclair Broadcasting and Roundbox discussed the merits and future of 3DTV. The opportunity to engage in such debates with industry peers is what makes the Retreat so popular and brings back participants year after year.  “Avid invests more in the Retreat each year because it offers us a unique chance to interact with other members of our community ” says Avid worldwide marketing manager/post production Vincent Maza. “Our business depends on relationships and the Retreat affords us the time to talk with our customers and understand their issues so that we can be part of the solution.” Other highlights included a review of the Consumer Electronics Show by ROAM Consulting’s Peter Putman a panel discussion on piracy led by Brad Hunt of Digital Media Directions and panel discussion on file-based mastering moderated by Disney’s Silverman. “The crowd is so delightfully diverse that every year no matter what question anyone has someone will be there who knows the answer ” says Schubin. “Where else will you find someone from the National Security Agency mingling with someone from Warner Bros. or CBS?” The Retreat’s Movie Night included a screening of a newly restored version of Stanley Kubrick’s 1964 classic Dr. Strangelove with Sony Pictures’ Michael Friend on hand to discuss the restoration. The Tech Retreat is sponsored by the Hollywood Post Alliance serving the professional community of businesses and individuals who provide expertise support tools and the infrastructure for the creation and finishing of motion pictures television commercials digital media and other dynamic media content. Photo: HPA President Leon Silverman courtesy of Morning Star Productions. ,2285
February PRIME Symposium Marks End of Three-Year Research Project,2011-03-14,Last month’s symposium Production and Projection Techniques for Immersive Media – sponsored by the German Federal Ministry of Economics and Technology – marked the conclusion of a three-year research project. During that period the 10 members of the PRIME consortium – companies and research institutes – developed technologies for all facets of the 3D workflow. The applications for their inventions range from the capture production and post-production of stereoscopic content all the way to viewing it on 3D displays and cinema screens. At the PRIME symposium Dr. Andreas Goerdeler of the German Federal Ministry of Economics and Technology stressed the enormous practical value of the technologies developed in connection with the research project. “The results of the PRIME project show that Germany is at the forefront of this field with new innovations ” he said. “The consortium’s members have already begun utilizing many of the outstanding PRIME achievements for 3D production and playback. The German companies participating in PRIME are superbly positioned to compete globally in the 3D field.” Kinoton was one of the presenters at the event. The company says it has succeeded in improving the lighting system for 3D projection solutions so as to compensate for the light losses that are an inherent problem of stereoscopic digital cinema. In addition Kinoton says it has made major headway in 3D projection with two digital cinema projectors (3D2P) and in integrating 3D technology in digital cinema projection systems. To round out its contribution to the PRIME project Kinoton says it has also optimized the operation of 3D projection systems and created a sophisticated remote diagnostics system. ,2286
Matching Style with Content,2011-03-14,Art & Copy a three and a half year labor of love which explores advertising and the creative revolution with some of the most influential characters who have shaped the world of advertising premiered at Sundance and has played theatres across the country. It has just been released on DVD through PBS Home Video. Doug Pray directed the film; Peter Nelson was the cinematographer. The team’s challenge was to adopt a style for the film that complemented the ads they were using in the documentary. “We wanted a style of elegant photography that would stand up next to the high-end commercials we featured and not bring them down but complement them ” says Nelson. “Because we were working in a documentary style I needed to have a tripod that was small enough to move around easily and work fast but also provide the solid support and reliability I needed.” “I bought my first Sachtler Video 18 back in 1994 and have used it since ” he says. “I never have to worry about whether I can go to a very long lens when necessary and be concerned about camera shake. With my Sachtler setup I can go to 600mm without a problem.” “For Art & Copy we moved around quite a bit; from New York to San Francisco Los Angeles Portland and even French Guiana for a satellite launch. We did everything from straightforward interviews to lots of abstract imagery to one-shot opportunities. There was not always a full camera crew at my disposal so size versus stability was a foremost thought and that is why the Video 18P works well for me.” Nelson’s most challenging shot was the rocket launch in French Guiana one of those one-shot opportunities. “I had never seen a rocket launch before and had no idea where it would go other than up ” he recalls. “Well not exactly straight up because of the curvature of the earth and the need to hit a very precise position in space but I didn’t know which way it would go.” “The two things I did know were that I would be on the telephoto end of the lens the whole launch and on a 2X extender for part of it. And I had only one shot ” he says. “This was a major element in the film so there was a lot of pressure. This is where you do not want to have to worry whether the tripod was up to the task.” “The launch went off and as the rocket went up it arced over to the right and I ended up turned around almost 180 degrees and tilting way up. Doug was watching on a monitor next to me and he screamed ‘Dude you nailed it!’ I nailed it – because I trusted my Sachtler support. Over the years camera packages have come and gone but my Sachtler has been there all along. I can always count on it.” ,2287
Pilat Media Launches IBMS Cinema Management System,2011-03-14,Pilat Media Global has launched IBMS Cinema a business management system for complete theatre advertising and promotion in digital cinemas. The emergence of digital distribution technology for cinematic content offers huge potential for companies that sell and distribute advertising to networks of movie theaters — creating significant efficiencies and cost savings as well as attractive new opportunities for highly targeted campaigns says Bob Lamb chief technical officer of Pilat Media. At the same time a significant segment of the cinema network is still running analog services and it too can greatly benefit from business operations support. IBMS Cinema gives these companies a central command post from which to control every facet of their theater networks' advertising programs to improve ad sales efficiency expand advertiser opportunities streamline ad delivery operations and increase profitability. Lamb says that IBMS Cinema is a modular end-to-end system for cinema advertising that drives all key business areas from a unified database and user interface. In addition to managing more traditional cinema campaigns such as ads appearing on-screen prior to a movie companies can use IBMS Cinema to sell new media opportunities such as digital signage campaigns in the lobby or snack bar promotions for special events and paid content. Pilat Media ,2288
Technicolor and Cine Project to Launch Technicolor 3D in Germany Austria Switzerland,2011-03-14,Technicolor has signed an agreement with Cine Project to work together to launch Technicolor 3D in Germany Austria and Switzerland.   “We’re excited to launch Technicolor 3D in these new markets ” says Joe Berchtold president of Technicolor’s Creative Services division. “We have a very affordable technology solution that helps to bridge the gap to solve the current shortage of digital 3D screens and bring 3D to audiences in International markets of all sizes.”   Currently Technicolor 3D has installed more than 500 screens internationally and released 15 titles from major motion picture studios. Studios supporting the Technicolor 3D format include Paramount Warner Bros DreamWorks Animation Universal The Weinstein Company Lionsgate Films Summit and Relativity Media. Forthcoming movies expected to be available in Technicolor include: Drive Angry (Summit) Thor (Paramount) Kung Fu Panda (Paramount/DreamWorks) Green Lantern (Warner Bros.) Transformers Dark of the Moon (Paramount) and Harry Potter 7: Part ll (Warner Bros.).   Cine Project Technicolor Technicolor 3D ,2290
The Mill Installs Nucoda Fuse Systems,2011-03-14, The Soho-based visual effects studio The Mill has installed two Nucoda Fuse systems to manage all footage that travels in and out of The Mill TV and Film Studio. Recent projects using Fuse include Doctor Who Merlin Primeval and stereographic CG shots for the new Narnia film The Chronicles of Narnia: Voyage of the Dawn Treader. The systems are housed in the new Mill TV and Film suites in its Clipstone Street premises. All conforms from tape film scans or Red are carried out using the Nucoda Fuse systems. The Mill TV and Film then use Nucoda Fuse to export all the VFX elements required for the artists to track animate and composite; in addition Nucoda Fuse is used to drive dailies sessions for composites to see how work is progressing. Matthew Clarke head of editorial Mill TV and Film says “Nucoda Fuse is ideally suited to our pipeline as it provides a simple and efficient way to update new versions of shots. Once the composites are finished we export the conformed show to our SAN. This is a huge benefit to us because the data is automatically available; we can get straight on with the job without having to spend time pulling data into the system.” Mill TV and Film recently used the Nucoda Fuse DVO toolset to clean footage for the BBC’s third series of the cult drama Merlin. Clarke says “Using the Nucoda Fuse DVO Dust tool we were able to automate the majority of the clean up process for the Merlin project which was shot on 16mm. This is incredibly useful when working to tight deadlines as it allows us to export the entire master and automatically clean it as it’s exported to our SAN. Once that’s done we visually check through the whole program to address any further issues that need fixing by hand. It’s a job that used to take two days with an experienced artist and now thanks to Nucoda Fuse it can be completed far more quickly.” Mill TV and Film also used the Nucoda Fuse stereoscopic tools for 3D CG shots of the new Narnia feature The Chronicles of Narnia: Voyage of the Dawn Treader. Clarke says “It was really important that we could view the stereoscopic work back on a regular basis to check that the depths were right and that everything was positioned correctly. We were frequently updating shots to fix issues and to be able to consistently view the material was essential and enabled us to meet tight deadlines.” Digital Vision ,2291
Trapman Uses Pictorvision Wescam on Acura Shoot,2011-03-14, Aerial director of photography John Trapman chose a Pictorvision Wescam system to shoot a new Acura MDX commercial spot. Shot at the picturesque Spray Lakes Reservoir in Kananaskis Country Alberta Canada the spot is slated to start airing in the Japanese market immediately upon completion. “The location was beautiful but cold and snow covered ” says Trapman. “It was about minus 40 degrees and the client wanted to shoot at 60 frames-per-second. Normally the camera would freeze up at those temperatures and at a high frame rate. In conditions like this we needed a system that would give us stable shots and also work in the extreme cold without failing. Pictorvision’s Wescam was the answer. It worked flawlessly. Trapman is presently shooting aerials for a major action film to be released late in 2011. “So far we’ve had two different missions ” he says. “One was to portray a news helicopter and gather ‘news’ footage of the scene and the other was to capture footage of a chase that ends with one vehicle going over the edge of the third story of a parking garage. “Again we needed a camera that was stable not only to capture clean news footage but also the chase with both scenes shot at long focal lengths ” he says. “We had very little time to get the shots since the production has a very tight schedule. Pictorvision made it easy since their gear works so well that we could just go from shot to shot with very little reset time.” Pictorvision ,2293
Blitz-CineStar Using Unique Digital Systems for Back Office Work,2011-03-14, Blitz-CineStar has selected the complete suite of TMS and VPF back office systems developed by Unique Digital as an integral part of their conversion to a full digital cinema network in Croatia. Blitz-CineStar currently operates a total of 12 cinemas and 90 screens and has commenced a full digital deployment. 
 Unique Digital will supply their Cinema Accord back office system to manage the VPF financed deployment. With a secure web based interface Blitz-CineStar will manage each Cinema TMS integrate with theatre booking systems and have secure management of KDM delivery and VPF reporting. 
Unique Digital will also supply a RosettaBridge TMS for each site providing Blitz-CineStar management and staff with a suite of tools to manage film and advertising content within each location. The complete package will be supplied through local integrator Audio Video Consulting which has overall responsibility for the digital deployment. 

“Following detailed testing and evaluation of a wide range of solutions on the market Blitz-CineStar were impressed by the level of integration offered by Unique Digital linking our cinema site operations with our back-office and advertising business ” says Damir Milinić member of the board for Blitz-CineStar. “The RosettaBridge and Accord systems will play an integral role in the operational viability of our digital network.” 
   “Our client Blitz-CineStar were clear from the start that they needed a fully integrated solution to manage their digital cinema deployment ” says Zlatko Jelacic project manager for AVC adding “We are very pleased they have selected Unique Digital and we look foward to working together on this exciting project in Croatia” 
 Rod Wheeler sales and marketing director of Unique Digital says “Following detailed discussion with both Blitz-CineStar and AVC on their requirements this announcement is validation of Unique Digital’s experience in managing and supporting full digital deployments. We are proud to support Blitz-CineStar in ensuring the success of their full conversion to digital cinema.” ,2294
Vue Entertainment to Install Sony 4K across Circuit,2011-03-14, UK exhibitor Vue Entertainment has signed an agreement with Sony Europe to install 4K digital cinema projection systems across its circuit. 
With over 37 million customers every year at its 68 cinemas and 657 stadium-seated screens Vue Entertainment will become the largest cinema circuit equipped with Sony 4K digital technology in Europe. 
Tim Richards CEO Vue Entertainment says “We are delighted to have signed such an significant agreement with Sony Digital Cinema. The partnership between our 2 brands will deliver the very best possible cinematic big screen experience for our customers. The transition to all digital screens also heralds a new era for cinema offering greater choice not only of films but also allow us to expand our range of live and recorded 3D and 2D content covering sports music opera ballet theatre comedy gaming and other major special events.”  

“Over the coming weeks we will be announcing an exciting customer marketing campaign that communicates the benefits of the Vue/Sony partnership and 4K projection. This along with the many other plans we already have in the pipeline between our two companies marks the start of a very special moment in our company’s strategy moving forward” 

David McIntosh director Sony Professional Solutions Europe says “This is a particularly exciting partnership for Sony Digital Cinema 4K which further demonstrates our commitment to the long-term success of the industry heralding the next generation of digital cinema. We are very excited about working with Tim and the team at Vue as one of the most progressive cinema companies in the world and am delighted that Sony 4K is going to play a key role in helping Vue offer its customers a revolutionised movie-going experience”  

Vue and Sony will start the conversion process immediately and it is expected to take 18 months to complete.  Vue’s cinema in Fulham has already been fully converted with Sony 4K digital projectors. ,2295
Warner Bros. Offering Movies via Facebook,2011-03-14,Warner Bros. Digital Distribution has begun testing an offering of selected movies for purchase or rental through Warner Bros. Entertainment’s Facebook movie Pages.  Consumers will be able to use Facebook Credits to easily buy or rent a title all while staying connected to Facebook. Under the trail system for example millions of fans who “Liked” Christopher Nolan’s film The Dark Knight can rent the title through its official Facebook Page. Consumers simply click on the “rent” icon to apply their Facebook Credits and within seconds they will begin enjoying the film.  The cost per rental is 30 Facebook Credits or three dollars.  This offering is presently available only to consumers in the United States.  Additional titles will be made available for rental and purchase on a regular basis over the coming months. “Facebook has become a daily destination for hundreds of millions of people ” says Thomas Gewecke president of Warner Bros. Digital Distribution.  “Making our films available through Facebook is a natural extension of our digital distribution efforts.  It gives consumers a simple convenient way to access and enjoy our films through the world’s largest social network.” Fans will have full control over the film while watching it through their Facebook account for up to 48 hours from purchase.  They can choose to watch it in full screen pause the movie and resume playing it when they log back into Facebook.  Consumers will also have full Facebook functionality including the ability to post comments on the movie interact with friends and update their status.   Warner Bros. ,2296
Apollo Cinemas Launches More Campaign,2011-03-24, UK exhibitor Apollo Cinemas has launched the More campaign which is designed to give consumers a wide range of alternative viewing content. The chain uses Sony Digital Cinema 4K technology. 
The campaign introduces the vast array of new content now available at Apollo Cinemas  from partners including The Royal Opera House Shakespeare's Globe Theatre and the English National Opera. Big stage musical theatre opera and ballet productions are no longer confined to the London stage as Apollo cinema brings live 3D performances to communities nationwide.
Customers can also now enjoy all their favorite sports from football to rugby boxing racing tennis basketball and many more in live 3D in the comfort of their local Apollo cinema. Not only that with live music festivals gigs and concerts all in amazing 5.1 surround sound it will feel like you're on stage with the performing artist.
 Last month Apollo continued its Global Season of Opera and Ballet with screenings of operatic film Carmen in 3D. Filmed in 3D during two performances at the Royal Opera House Carmen in 3D is a feature film depicting acclaimed director George Bizet’s opera classic.
To kick start the More campaign the first live artist album launch took place last month at the Apollo Cinema in London’s Piccadilly where Avril Lavigne launched her new album with a Q&A and 3D video screening for fans. 

Nicole Oakley marketing manager at Apollo Cinemas says As a leading cinema chain Apollo is at the forefront of innovation by pioneering new and dynamic ways to communicate with its customer-base. Our partnership with Sony Digital Cinema allows Apollo to offer the ultimate digital cinema experience to all our valued guests. The Sony 4K technology provides outstanding image and sound quality and enables us to extend our programming to alternative content delivering new and exciting experiences for our existing and future customers.”
 David McIntosh director Sony Professional Solutions Europe says “This exciting partnership clearly demonstrates Sony Digital Cinema’s commitment to the long-term success of the industry heralding the next generation of 4K digital cinema experience. It enables Apollo to capitalize on the enormous opportunities that digital cinema offers to strengthen and sustain their business as well as to revolutionize the movie-going experience for its customers.”