Volker Bahnemann Award for Cinematographers Created for NYU Film School

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

In honor of and in recognition of Volker Bahnemann’s more than 40 years of service to the filmmaking industry Arri has established The Volker Bahnemann Award for Cinematographers at New York University’s Tisch School of the Arts Maurice Kanbar Institute of Film & Television. The grant was conceived to inspire future generations of cinematographers and empower talented students to realize their artistic potential. Bahnemann served a total of 48 years at Arri with 32 of those years as CEO and president of Arri Inc. and Arri/CSC. Under his leadership the company developed into the largest and most reputable motion picture equipment manufacturer in the world. He inspired countless filmmakers enabling their creative visions through the decades. Three-time Oscar winner Vittorio Storaro AIC ASC says “It is a great idea that Arri has established the Volker Bahnemann Award for Cinematographers. Volker was is and will be one of the more prominent figures in the film industry. Ever since I met him for the first time he touched me with his balance in conjugating technology and creativity. His personality always pushed all of us in knowing not only the new technical elements that his company or any other company provided for the advancement of expression in cinematography. Mainly he pushed all of us to use our personal creativity and our knowledge of every art to better express ourselves in the Tenth Muse: the cinema. The Bahnemann Award provides an annual production grant to one cinematographer in either the undergraduate or graduate divisions of the Kanbar Institute. Recipients will be selected by the faculty based upon rigorous criteria keeping in mind the legacy Bahnemann has built which is synonymous with excellence in cinematography. Funds must be applied towards the thesis project for the honoree. Says Bahnemann “I was truly overwhelmed by this philanthropic gift from my friends and colleagues. Words alone cannot fully express my appreciation and gratitude to everyone who has generously contributed to establish this award for future generations of cinematographers. This also is my opportunity and motivation to stay involved with this wonderful art and craft well beyond my active business life.” Arri www.arri.com ,1696
Cinedigm to Double Size of Satellite-Enabled Theatre Network,2010-05-13,Cinedigm Digital Cinema plans to more than double its network of satellite-enabled theatre locations across the United States by deploying an additional 300 locations by the end of 2010. This will increase Cinedigm’s satellite-enabled theatre network to more than 575 locations.   In addition to their ability to receive the latest theatrical content via satellite – which limits the carbon footprint of Hollywood distribution among other benefits – they can also receive and present live events such as sports.   To present live events theatres can add CineLive capability to their satellite infrastructure. Only 100 locations nationwide currently have this capability. That number will grow in tandem with this rollout. This elite group of theatres is equipped to bring live 2D and 3D events such the 2009 BCS Championship Game the 2009 NBA All-Star Saturday Night events and most recently the 2010 NCAA Final Four and Championship games.   In addition to feature movies and alternative content the Cinedigm satellite network delivers trailers screen advertising and encryption keys all via satellite improving upon the less efficient need to deliver such content to theaters via truck.   “Satellite delivery is the most secure the most efficient and the most environmentally friendly way to deliver movies and other content to theatres. Throughout the motion picture industry there are strong advocates leading the charge to be more ‘green.’ We expect that Cinedigm’s network expansion will serve as a catalyst for studios and independent distributors to embrace the many benefits satellite delivery brings to exhibitors and the environment ” says Chuck Goldwater president of Cinedigm’s Media Services Group.   “Cinedigm’s Digital Media Services Group delivers hundreds of pieces of content each week on the safest most robust and fastest satellite network in the cinema industry with exceptional reliability track record ” says Gerd Jakuszeit president of Cinedigm’s Digital Media Services Group. “As the rollout of digital cinema theatres accelerates the addition of these satellite systems will enhance Cinedigm’s ability to deliver content securely and cost effectively to even more locations.”   Cinedigm www.cinedigm.com ,1697
Deluxe has streamed more than Eight Million Trailers,2010-05-13,Deluxe Digital Studios has announced that it has served more than eight million movie trailers to Blu-ray consumers through its BD-Live Trailer Pre-Roll technology and expects the total number to surpass 25 million by the end of 2010. In late 2009 Deluxe Digital Studios launched its BD-Live Trailer Pre-Roll technology to enable studio marketing divisions to dynamically and seamlessly serve new trailers and other promotional content directly to their Internet connected Blu-ray consumers. The content is streamed in either high definition or standard definition format which is automatically determined based on the consumer's broadband connection speed. The streamed content is presented to the consumer shortly after inserting the disc into the player and before the main menu or start of movie playback. The presentation of outdated trailers such as those seen on DVD is no longer necessary with Blu-ray. Universal Studios Home Entertainment was the first studio to adopt the feature on Blu-ray releases such as Public Enemies and Funny People. This innovative feature allows us to reach the Blu-ray consumer in ways that are not possible with DVD says Robert Read vice president HD strategic marketing Universal Studios Home Entertainment. By utilizing the BD-Live capability consumers can now enjoy the latest theatrical and home entertainment trailers every time they play a Universal Blu-ray release even on discs they purchased over a year ago. Allan Lamkin vice president of network services at Deluxe Digital Studios says Several of our BD-Live applications have really taken off in 2009 and Trailer Pre-Roll is one of them. Being able to dynamically change and stream trailers and other promotional content directly to the Blu-ray living room is a very powerful marketing opportunity for our studio clients. The consumer also wins as they get to view fresh and relevant content every time they insert their Blu-ray disc into a BD-Live connected player. Deluxe Digital Studios www.bydeluxe.com ,1699
European Box Office up Twelve Percent Group Says,2010-05-13,Based on provisional data available the European Audiovisual Observatory has estimated that gross box office takings in the European Union in 2009 increased by 12 percent year-on-year to around EUR 6.27 billion the highest level on record. Box office growth was fuelled by a six percent surge in cinema attendance to an estimated 981.1 million tickets sold in 2009 up from 925.3 million in 2008 and by increasing average ticket prices largely thanks to premium prices for 3D screenings. It was the latter in combination with the release of a significant number of big-budget 3D blockbusters such as Ice Age: Dawn of the Dinosaurs Up or Avatar which convinced many exhibitors to install digital 3D projection systems in their cinemas thereby increasing screen space for these films and allowing them to realize their full potential. All three titles made it into the top five films of the year selling a cumulative 86 million tickets throughout the EU. Theatrical markets grew in almost all territories across the European Union in 2009. Gross box office measured in Euro increased in 21 out of the 23 EU member states for which data are available with only Ireland and Latvia registering a decline. Admissions increased in 20 EU markets while decreasing in only six. 2009 was also a year in which the European cinema landscape was more than ever dominated by blockbusters with the number of films generating more than five million admissions increasing from 34 to 42 and market share for the top 100 films increasing from 69 percent to 75 percent. Theatrical markets which performed particularly well in terms of admissions were Germany (+ 13.1 percent) France (+5.7 percent) and the United Kingdom (+5.6 percent). 2009 saw EU production levels continue to grow though at a slower pace to a new record high. Based on the provisional data available the Observatory estimates that a total of 1 168 feature films including feature documentaries were produced in the 27 member states of the European Union in 2009 up 28 films from the previous record year 2008. Growth in production activity was primarily the result of a strong increase in German fiction films increasing from 96 film releases in 2008 to 129 in 2009 (+33). Differences in production measurement methodology between European countries make it difficult to evaluate the effects or non-effects of the economic crisis on overall production output in 2008 and 2009. National production data may report on films receiving funding going into production completed or released in cinemas. As a possible financing penury would primarily affect projects going into production rather than film releases it remains to be seen to what extent the financial crisis has affected European production activity. Nevertheless the high in 2009 production data suggests that the European public funding system has prevented production levels from dropping significantly. Overall fiction films accounted for an estimated 80 percent of total European production volume feature documentaries for around 20 percent. The number of European fiction films increased from 859 in 2008 to 887 in 2009 (+28) while the production of theatrical feature documentaries remained stable at 281 productions. With 194 feature films released in 2009 including 65 feature documentaries Germany became for the first time in recent history the country with the highest production output in Europe followed by the former leader France where production levels fell from 196 features to 182. Based on available data the European Audiovisual Observatory estimates that European films captured a provisional market share of 26.7 percent of total admissions in the European Union down from 28.2 percent in 2008 and the lowest level since 2005. Market share for European films produced in Europe with incoming US investment such as Harry Potter and the Half Blood Prince decreased slightly from 4.4 percent to 4.2 percent. Market growth was primarily driven by US blockbusters in 2009 illustrated by the fact that market share for US films climbed from 65.6 percent to an estimated 67.1 percent the highest level since 2003. While many European countries had registered record national market shares in 2008 market shares for national films declined in 18 out of 23 member states for which data were available in 2009. Exceptional market shares for local films were nonetheless achieved in Germany with national films led by Wickie und die starken Männer Die Päpstin and Zweiohrküken reaching a record market share of 27.4 percent and Sweden where thanks to the Millenium trilogy admissions to local films increased by 81.5 percent year-on-year and local market share climbed to 32.7 percent the highest level on record. 2009 also proved to be a good year for Spanish films which generated 22 percent more admissions than in 2008 and took a market share of 16 percent. French films remained the most successful films in the EU market in terms of admissions despite seeing their market share dropping from 12.1 percent in 2008 (driven by the extraordinary success of Welcome to the Sticks) to 8.7 percent. Thanks to strong results in their home market German films ranked second taking 4.1 percent followed by UK productions accounting for 3.9 percent of total admissions in the EU. 3D blockbuster Ice Age: Dawn of the Dinosaurs topped last year’s European charts selling around 40.2 million tickets in 2009 followed by Harry Potter and the Half-Blood Prince taking second place with 33.9 million admissions. The two chart leaders were two out of a total of eight sequels / spin-offs to figure in the top 20. Three out of the top 5 films were produced and released as 3D films: Ice Age 3 Up and Avatar. Leaving aside the latest Harry Potter installment which is a UK inward investment film financed by a US studio only one European film made it into the Top 20. Slumdog Millionaire sold over 16 million tickets taking second place in the list of top European films followed by the first installment of Stieg Larsson’s Millenium trilogy Män som hatar kvinnor (The Girl with the Dragon Tattoo) which sold almost 6.6 million tickets in the EU and became the most successful Swedish film since the Observatory began compiling pan-European admissions in 1996. ,1701
Urvashi Cinema Installs India’s First 3D Screen,2010-05-13,The Urvashi Cinema in Bangalore India has undergone a significant upgrade in anticipation of some thirty 3D movies to be shown in the next 12-18 months. Urvashi is the first 3D digital equipped single screen cinema in India. The centerpiece of the upgrade is a 56-foot by 28-foot Perlux 220 Harkness screen. The 3D system includes Christie projection a Qube XPD server solution and the XpanD 3D system. The theatre has a seating capacity of 1 100 including a balcony of 464 seats. “With the explosion of blockbuster movies coming out in 3D and digital 2D it was essential for us to equip our cinema with a screening system that could provide our patrons with all of the action and excitement of 3D ” says Amit Gowda president of Urvashi.  “Harkness’ Perlux 220 provides incredible images that allow our customers who spend their hard earned money to live the entertainment.” Harkness Screens www.harkness-screens.com ,1703
Imagica Installs a FilmLight Baselight Four Color Grading System,2010-05-13,Japanese post house Imagica has installed has a Baselight Four color grading system from FilmLight into one of its existing digital intermediate suites at the Tokyo Imaging Centre. The new system is equipped with parallel GPU processing 3D stereoscopic toolset temporal grain reduction and RAW file format handling of images shot with the latest digital cameras. The system will be used to color-grade 2K and 4K features for both film and digital release including 3D stereoscopic productions.  “On a daily basis we do color-grading on various categories including feature films re-mastering of film archives trailers stereoscopic content and TV commercials ” says Takehiko Ochi manager digital imaging group post production department. “Inevitably we chose Baselight to play a leading role in our DI workflow. We are very excited about the flexible functions and high performance of Baselight Four; it will allow our colorists to demonstrate their creativity without any stress. “FilmLight is committed to providing world-class solutions to the top facilities in Asia and around the world ” says Scott Craig managing director of FilmLight’s regional office in Singapore. “We are delighted to be working closely with Imagica.”