Featured Stories

Éclair Content Delivery in Denmark a Success

Wed, 08/22/2018 - 10:50 -- Nick Dager

Éclair today announced the successful deployment of ÉclairBox content delivery in Denmark through Nordisk Film. The company credited Divo Post Production with supporting the delivery. Plans to further expand theatrical services across Scandinavia have been finalized. The announcement was made during the 2018 edition of the Norwegian International Film Festival Haugesund.

Cineplex Installs Unique X TMS Software

Wed, 08/22/2018 - 10:41 -- Nick Dager

Cineplex, one of Canada’s largest entertainment and media companies, has announced that it will install Unique X theatre management system software across its enterprise. The agreement continues Unique X’s expansion into the North American cinema market.

MixCine, China, to Open Dolby Cinemas

Tue, 08/21/2018 - 11:20 -- Nick Dager

Dolby and the Wanying Cinema Line Company Limited have announced a partnership to extend the Dolby Cinema experience to more moviegoers in China. The exhibitor, which is wholly owned by China Resources Land Limited, operates movie theatres across China with the brand MixCine. The first location under the agreement is expected to be open at Wanying’s flagship site in Shenzhen with more locations to come in Southeast China in the following two years.

William Wages Makes the Case for Zooms

Mon, 08/20/2018 - 11:31 -- Nick Dager

For William Wages, ASC, filmmaking is first and foremost about storytelling. He says his role, as a premier cinematographer is to capture the best performances with the least intrusion. “It’s less about the technology, and more about the story,” he says in a new video produced by Fujifilm. The winner of three ASC Awards, including ASC Career in Television honors in 2012, and two Emmy nominations, Wages is known for his sumptuous landscape and intimate photography in features such as Maya Angelou’s Down in the Delta, Roland Joffe’s The Forgiven, and Steven Spielberg’s TV mini-series Into the West, as well as his development of filmmaking tools that create more efficiency and transparency on set.

Éclair Certifies Its Berlin Content Services Facility

Thu, 08/16/2018 - 11:40 -- Nick Dager

Éclair today announced the ÉclairColor certification of its content services unit in Berlin. This is the second ÉclairColor certification of an Éclair facility after Paris-Vanves. Two German releases have already been mastered in ÉclairColor by Éclair’s Berlin teams: Jacob Lass’ So Was Von Da, opening in cinemas across Germany today, and Florian Gallenberger’s Grüner Wird’s Nicht, opening August 30.

Taiwanese Cinemark Acquires Christie Laser Projector

Wed, 08/15/2018 - 12:45 -- Nick Dager

Cinemark Theatres is the first exhibitor in Taiwan to deploy Christie’s CP4325-RGB pure laser cinema projector. The projector, which features Christie’s proprietary RealLaser technology, was installed in the flagship Cine X auditorium of Cinemark Theatres Dream Mall, equipped with a 19-meter screen and a capacity of over 350 seats. Dacoms Technology had the installation and will oversee maintenance.

Breathing on Everest

Tue, 08/14/2018 - 13:34 -- Sierra Johansen

My Breathing on Everest journey kicked off less than a year out of university when my friend and frequent collaborator Meredith Gaito came to me with an idea she knew most other people would call too ambitious or downright crazy. A year and a half later I have been to Nepal twice filming at the base camp of Mount Everest for what has become a deeply personal documentary.

Demon by Moonlight

Mon, 08/13/2018 - 12:27 -- Nick Dager

Premiering at the 2017 Austin Film Festival where it won Best Narrative Short, Demon tells the story of a desperate man emerging from the night where he encounters a solitary shack in the middle of the desert. It is in this night setting where he discovers a dark secret that the property owner possesses. Cinematographer Drew Dawson shot the supernatural drama/thriller, directed by Caleb Slain just outside Joshua Tree National Park. The Demon script had the setting as a desert landscape with a full moon. According to Dawson, the goal was to capture the entire film with moonlight, practicals, and minimal film lights

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