If the Hollywood studios want to thrive in the era of Google, Amazon, and Netflix, they are going to have to think differently about communicating with their customers. In order to do that, they are going to have to make gathering and analyzing data on customers a priority. Consider the instructive story of how Steve Jobs revived Apple and transformed it into one of the most successful businesses in the world. The story in general is well known, but we’d like to focus on one aspect of it that gets less attention than it should: how Apple used connections with customers and data on customers to turn itself around.
Renowned sound designer and feature film supervising sound editor Scott Gershin has worked on more than100 films and received 26 industry nominations, including a BAFTA Award for his work on American Beauty, Guillermo del Toro’s Pacific Rim, and Dan Gilroy’s Nightcrawler. He brings theatrical sound quality standards to bear on a wide range of consumer experiences, from apps and software, to blockbuster gaming titles like Resident Evil, Gears of War, Fable, and most recently id Software’s Doom. Gershin recently joined Technicolor as its director of sound editorial, where he leads the company’s expansion into sound design for gaming and immersive experiences and also continues to design and supervise sound for films. Digital Cinema Report recently spoke with Gershin about his career, the transformative role of technology in his work, and the tools he can’t do without for current projects.
The cinema has been the genesis of audio and imaging innovation that drives new, spectacular, and captivating experiences to moviegoers. For more than 50 years, Dolby has been, and continues to be, at the forefront of these efforts to advance the science of sight and sound that lead to unforgettable entertainment experiences. Dolby began its journey in delivering superlative audio experiences with the introduction of Dolby Stereo with Star Wars in 1977. Fifteen years later, with the release of Batman Returns, Dolby Digital ushered in a next-generation multichannel surround sound experience that became the de facto standard for movies, television, gaming, and more. We have always believed, and the industry has demonstrated, that sound is every bit as vital to the patron’s experience as image. Our ability to deliver an improved experience and draw audiences deeper into a story by enabling them to hear the whole picture is what solidifies their desire for a theatrical experience time and time again.
As was widely reported earlier this week, Dolby Laboratories has completed its acquisition of Doremi Labs. According to the announcement, the deal advances Dolby's mission to improve the cinema experience, enable new forms of storytelling, and accelerate the delivery and deployment of innovative solutions to exhibitors. I spoke exclusively with Doug Darrow, Dolby’s senior vice president, cinema, to better understand what this deal means.
Last September, International Datacasting announced that DSAT Cinema had committed to buy more than 1,000 of its SuperFlex Pro Video Receivers. Since its inception last year, DSAT Cinema, the Eutelsat and dcinex joint venture has used IDC’s technology to deliver more than 300 films and 50 live broadcasts, from iconic locations that include the Metropolitan Opera in New York, Moscow's Bolshoi Theatre and the Royal Opera House in London. The companies described their relationship as an alliance and a partnership. Digital Cinema Report recently spoke with Walter Capitani, International Datacasting’s vice president of marketing to get an update on the progress they’ve made to date.
In its hundredth year, Indian cinema looks young, fit and with it. To understand this, all you have to do is watch Kai Po Che, Vicky Donor or Peepli Live in Hindi. Or watch any other small or medium budget successful film in an Indian language of your choice. Take Kai Po Che for example.
The goal of this article is to educate the industry about challenges that immersive sound presents and to present my arguments as to why the National Association of Theatre Owners’ and Digital Cinema Initiative’s rushed actions have the potential to harm, rather than help, the first release motion picture industry
Digital Arts NY provides 4K picture and sound finishing services for feature films and high-end TV productions within its 12,000 square foot facility. The company recently launched what Axel Ericson, the founder and owner, feels is the first true 4K infrastructure on the East Coast for full 4K digital cinema finishing, including a new, landmark audio mixing environment.
I write as someone whose adult life has (for the most part) been immersed in holography. It has been a grand passion. Walking into the International Center for Photography in 1975 for the show Holography '75: The First Decade July 3–September 19, 1975, and seeing my first hologram was a mind-blowing experience.
This year the buzz at CineEurope seemed to be all about alternative content, or event cinema as it’s being increasingly referred to. As chair of the ECA it’s difficult to gain real perspective from the eye of the storm but having seen the business grow from an occasional add-on for exhibitors to a serious revenue stream in more recent years, the sense in Barcelona last month was that in event cinema, the possibilities are endless and the sense of real excitement was tangible. Everyone from major studios to major cinema chains to independents to technical partners seemed keen to know more, hear more, do more to exploit this established and still growing revenue stream.