Novo Cinemas, part of the Elan Group in Qatar, has launched a new flagship cinema at Mall of Qatar, in Al Rayyan, Doha. The new cinema features 19 screens, including an IMAX Laser theatre that features the largest IMAX screen in the MENA region and seats 530 people. It also includes an upgraded sound system featuring 12 channels plus sub bass that delivers lifelike sound from all directions, including overhead, to fill the cinema with astonishing clarity, richness, detail, and depth. I spoke recently with Novo Cinemas CEO Debbie Stanford-Kristiansen about the new theatre and, in particular, her belief in the importance of lobbies.
FutureWorks Media, one of Asia’s most prominent post-production houses, has renewed its partnership with Barco. A tour-de-force in international and domestic film and television solutions, FutureWorks has recently invested in a Barco 4K post-production projector at its Mumbai facility.
If there is one thing for which the recently opened Odeon Sambil Dolby Atmos multiplex in Madrid stands out, it is the number of technological firsts clocked up by its twelve theatres. It is the first multiplex in Spain with all its screens equipped with 4K projectors – all from Christie – and also the first to include Dolby Atmos and Christie Vive Audio sound in all its theatres, and the only multiplex in Spain with more than one laser screen. In this case, Sambil has two screens equipped with laser projection, both with Christie Solaria CP42LH RGB projectors.
Christie has announced that James Cameron’s Lightstorm Entertainment has renewed an exclusive, five-year agreement with the company for sharing know-how and technology to propel the future of immersive cinema experiences. “To push the boundary of digital cinema, one needs visionary, like-minded collaborators and that description fits Christie to a tee, given its long cinema heritage and impressive list of industry ‘firsts’ in the projection and visual display realms,” said Cameron. “Several years ago we began our relationship, which has worked well, so I’m pleased to be forging ahead again with Christie at my side.”
Sony Digital Cinema 4K will unveil its prototype 4K RGB laser projection system next week during CinemaCon 2017 at Caesars Palace in Las Vegas. Demonstrations will be held hourly in Pompeain Ballroom 1 on the Promenade Level.
Burbank, California post house Roundabout has purchased a Quantel Rio 4K online editing, color and finishing tool from SAM for editorial and restoration work on multiple films.
Content studio Malka Media of Hoboken, New Jersey is currently shooting a documentary series for release online about Jersey City, New Jersey’s St. Anthony High School and its legendary basketball coach, Bob Hurley with VariCam LT 4K cinema camcorders. Louis Krubich, Malka Media CEO and series director said that when longtime client Showtime approached him about the St. Anthony story, he and his staff directors of photography agreed that the VariCam LT would be a great choice for this sports documentary, largely because of its 4K acquisition and dual-native 800/5000s.
European entertainment company Sky has installed two FilmLight Baselight 4K color-grading systems in its post-production department. The new systems will allow Sky to serve the increasing technological demands of external clients as well as in-house departments at the company’s headquarters at Osterley, West London.
Sixteen19 marked one year at its new headquarters in New York’s Chelsea district with the launch of its second 4K DI finishing theatre. The theatre will enable the company’s artists and technicians – led by co-founders Pete Conlin and Jonathan Hoffman, and senior colorist Andrew Francis – to build on a breakthrough year marked by physical expansion, high-profile projects and inroads into new markets.
The long-awaited sequel to the 2003 holiday cult classic, Bad Santa (directed by Terry Zwigoff), Bad Santa 2 is directed by Mark Waters (Vampire Academy, Mean Girls). Theo Van de Sande, ASC (Blade, Cruel Intentions, Wayne’s World) shot the dark comedy with Panasonic VariCam 35 4K cinema cameras. Comedy or not, Waters and Van de Sande wanted the film to have a darker look. For developing the look of Bad Santa 2, Van de Sande did not use any visual references, including the original Bad Santa (shot by Jamie Anderson).