What are exhibitors’ technology needs and concerns today? And how might they change in the coming years? To answer these questions, global cinema software leader Arts Alliance Media and Digital Cinema Report are teaming up to find out what you think.
Netflix this week committed to streaming its movies in both Dolby Atmos and Dolby Vision high-dynamic range formats. It is the first global on-demand service to commit to combining both formats. Okja, the critically praised Netflix Original Film, is the first film available in both formats. Additional Dolby-supported titles are coming soon, and the catalog will continue to grow. Okja will be released to select movie theatres this week as well. Netflix has raised the stakes again.
Designing a precise color workflow during pre-production can save motion picture projects time and money. The larger and more complex the project, the more the potential for savings. Digital imaging technician Francesco Giardello (Pan, Game of Thrones, Ben-Hur, Thor: The Dark World) can accurately be described as a pioneer in the use of the Academy Color Encoding System on-set. He recently designed a set-to-post color workflow using ACES for the movie Life, directed by Daniel Espinosa and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. This space thriller from Sony tells the story of the crew aboard the International Space Station and what happens when they encounter extra-terrestrial life in the form of an organism they name Calvin. On Life, Giardello worked closely with cinematographer Seamus McGarvey ASC BSC. The main cameras used were Arri Alexa 65s although, according to Giardello, several other cameras were also utilized. I spoke with Giardello about the color workflow used on Lif
There’s a reason why the classic Warner Bros. film Casablanca has remained one of the world’s favorite movies for more than seventy years. There’s also a reason why, for more than a century, people the world over have loved countless other Hollywood films: movies are magic. And, there’s a reason – more than one in fact – why advertising in cinemas is so effective. Movies connect with us in very emotional ways and leave memories that can last a lifetime. Which was, in essence, the case that Screenvision Media made in its Upfront presentation last week: content in a darkened theatre on the big screen creates memorable impressions.
CinemaCon 2017 featured a dizzying array of technology possibilities that, depending on who you talked to, were exciting, intimidating or overwhelming. The trade show, held at Caesar’s Palace in Las Vegas, is the National Association of Theatre Owners’ annual gathering of exhibitors from around the world. More than one attendee labeled the show Digital Cinema 2.0. The digital cinema transition was not the end of anything; it was very much the beginning of something even bigger. That was because this year’s CinemaCon made it perfectly clear that the days of the basic 2K-projector, server and vanilla theatre management software package are numbered. To remain competitive, perhaps even simply to stay in business, exhibitors must learn to fully embrace new technology.
Twenty-eight independent theaters in cities across the country will participate in the fourth annual National Evening of Science on Screen. The event will feature a short introductory video, followed by a unique film and speaker presentation at each venue as part of its Science on Screen program. For example, the Martha’s Vineyard Film Center will screen Robot & Frank with an introduction and post screening discussion with Michael Chuah, PhD Candidate, Biomimetic Robotics Lab Mechanical Engineering, Massachusetts Institute of Technology
Disney’s Newsies: The Broadway Musical, a special limited engagement cinematic event directed by Brett Sullivan for Disney Theatrical Productions and Fathom Events, debuts this month in theaters worldwide. Co-founders of Steam Motion and Sound, he and lighting director Clayton Jacobsen have a lot of experience in translating theatrical productions to the screen, including the musicals Billy Elliot, Miss Saigon, Les Misérables, The Phantom of the Opera, Jesus Christ Superstar and Andrew Lloyd Webber’s Love Never Dies.
The International Union of Cinemas has released its provisional update on admissions and box office revenues across Europe for 2016. While the increase was also the result of a wide range of highly successful local films across Europe, box office was again dominated by strong international titles, including, but not limited to, Rogue One: A Star Wars Story, Zootopia, Fantastic Beasts and Where to Find Them, The Secret Life of Pets and Ice Age: Collision Course.
Later this week, audiences across the United States will have the chance to watch a film that promises to redefine the concept of event cinema. On January 19, Oscar-nominated actor Woody Harrelson will direct and star in an unprecedented live feature film event, Lost in London Live. Harrelson, who also wrote the film, will be joined by co-stars Owen Wilson and Willie Nelson. Fathom Events will present the film live in 550 theatres in the US. Afterwards, he’ll participate in a question and answer session about the experience. No matter what happens, Lost in London is certain to make event cinema history.
Immersive cinema seating is one of the fastest growing trends in mainstream motion picture exhibition and shows no signs of slowing. Translating the action on the screen into what a viewer experiences in the seat is no simple task and requires the hard work of many talented people. To learn more about that process, I recently spoke, via email, with Catherine Yi, creative director of 4DX America.
