Current Issue

Coyote Theaters first drive-in built in 2013 in Fort Worth, Texas.
»POSTED on June 28, 2016
Thanks, in part, to digital cinema technology, drive-in theatres are on the rise. According to the United Drive-in Theatre Owners Association, as of this month there are 324 drive-in theatres in the United States, 299 of which are digital, with a total of 595 screens. Though the numbers will likely never be as high as they were in the 1950s when... //READ MORE

Features

Cineplexx, Austria, is deploying Cinema Next software across its chain. Cineplexx Deploys Cinema Next Software
»POSTED on June 30, 2016
Austrian cinema chain Cineplexx, a subsidiary of Constantin Film Holding, will deploy Cinema Next’s proprietary Melody Theatre Management System and Symphony circuit management software across its entire network. This represents a total of 228 screens and 31 different sites. The rollout is expected to begin this summer at all Cineplexx cinemas located in Austria, Italy, Croatia, Albania, Montenegro and Serbia. Cinema Next is part of the Ymagis Group.
More than 80 percent of the moviegoers who have experienced Philips LightVibes had a positive response. Audiences Upbeat About LightVibes
»POSTED on June 30, 2016
More than 80 percent of the moviegoers who have experienced Philips LightVibes had a positive response, according to a recent survey conducted by the company. The news was part of a presentation that Niels Van Duinen, general manager of Philips LightVibes gave earlier this month at CineEurope in Barcelona. The news was included in remarks that Van Duinen made at the Event Cinema Association’s reception. He was giving those present an update about Philips LightVibes Surround Cinema Lighting news and developments since the group’s last gathering at CinemaCon in Las Vegas.
Stolichnaya’s 2014 ad featuring a shaking martini glass was one of the first to use immersion technology. Shaking Up the Ad Business
»POSTED on June 29, 2016
There is a huge push for haptic advertising. Simply put, to add nuanced tactile effects to simulate a realistic feeling to 360 virtual reality content: the shaking of a martini glass in a Stoli ad; the power of the engine in a Peugeot ad and the flickering of lights in the American Poltergeist trailer. These are a few of the ways that haptic advertising has been utilized using Immersion’s Touchsense Design Cloud. Starting in 2014, Stoli was the first to break the ice, so to speak, with the first tactile ad. Now 554 mobile apps and 481 tablet apps on the Opera Mediaworks network have the capability to run haptic ads. These ads have the potential to reach 14.9 million total impressions, 4.2 million unique viewers
Jim Hunziker, VariCam 35 camera operator on location in the deserts of Arizona. Photo by Andrew Parke Creating a 4K Master for Quality
»POSTED on June 29, 2016
Director/DP Hal Long had a challenge. “The producers (including Bill Rogin and Cole Klapman) are committed to having a 4K master for residual use,” Long said. “And for season two, I wanted a 4K camera that would deliver better color accuracy and separation.” Long, a longtime user of Panasonic P2 cameras said that was why both seasons of Gunny Time were shot and finished in 4K with Panasonic VariCam 35 4K cinema camera/recorders.
Horace and Pete is a 2016 web series created, written, and directed by Louis C.K. Fast Work in Brooklyn
»POSTED on June 28, 2016
Horace and Pete is a 2016 web series created, written, and directed by Louis C.K. A distinctive feature of the series is frequent references to highly topical current events during barroom discussions. This was made possible by having less than a week between the production and release of the episodes. It was also one of the reasons that the VariCam 35s were chosen for the show, according to post-production technical advisor Troy Thompson a longtime C.K. collaborator and colorist at New York’s Running Man.
Director Charles Robert Carner and DP Kris Kimlin on location for JL Ranch. Embracing the Elements On Location
»POSTED on June 27, 2016
The Hallmark Movies & Mysteries modern day TV western JL Ranch spent this past winter shooting on location in Kentucky presenting director Charles Robert Carner and DP Kris Kimlin with an array of often-unexpected challenges. Facing snow, rain, mud, and temperatures ranging from -11°F to +50°F Kimlin relied heavily on his Cooke S4/i lens package consisting of 18mm, 25mm, 35mm, 50mm, 75mm, and 100mm focal lengths on an Alexa digital camera. “We didn’t expect the elements, so we had to embrace them,” said Kimlin.