ISCO has entered into an original equipment manufacturer partnership with Wolf Cinema. Their joint equipment design combined products and technologies have led to what the companies are calling an exclusive industry first: the ability of Wolf Cinema projectors to show every single movie in its original aspect ratio from 1.33:1 to 2.67:1. It is unclear when the new projectors might come to market. In the partnership ISCO anamorphic lenses will be a core component of and fully integrated into all Wolf Cinema's projector systems: the Reference Digital digital-cinema-grade projector (retailing at $180 000); the DCX 3-chip DLP technology projector (retailing at $60 000 to $117 000); and the Reference Analog 35mm film projector (retailing at $55 000); as well as the Wolf Cinema complete Reference System comprising a digital-cinema projector two 35mm film projectors and a Dolby Digital Cinema processor (retailing at $300 000). ISCO can add yet another successful OEM partnership to its list. With Wolf Cinema we've been able to solve a unique front-projection challenge: produce a true fidelity image regardless of room size or distance to the screen says Brian Ludvigsen president ISCO. This industry first is a result of ISCO's devotion to working closely with video projector manufacturers to meet the continued demand for high-end high performance systems. Now custom integrators installers dealers and movie fans can finally get the real deal – true fidelity studio experience with the movie in its original aspect ratio – whether they're watching The Phantom of the Opera on Blu-Ray disc or Ben Hur on 35mm film.” ISCO is the leading lens brand in quality precision and dependability in the high end theater market. Quite honestly ISCO is the only anamorphic lens choice large enough to do what we need to do. There's no other partner combination out there that can show all films in their original aspect and we expect the products to generate a lot of interest says Jim Burns principal Wolf Cinema. Wolf Cinema www.wolfcinema.com ISCO www.isco-usa.com ,585
K-Tek Introduces the Klassic Traveler Kit,2008-12-09,K-Tek has introduced the Klassic Traveler Kit. Created to meet the needs of the busy boom pole operator on the go the new kit offers the K-Tek Klassic 6-Section graphite boom pole (K-87CC) K-Mount microphone suspension (K-MT) and a slip-on Fuzzy windscreen (Z-FSO) in a single cost-effective package. K-Tek’s new Klassic graphite pole is engineered for quick storage and easy transportation. The six-section design allows the pole to collapse to a shorter minimum length with no sacrifice to maximum reach. The K-87CC extends to 7 feet 3 inches (221cm) and can be compressed to 1 foot 10 inches (56cm). Crafted of high-density graphite fiber the pole offers the same great benefits as the top-of-the-line Klassic 5-Section Boom Pole series. Locking collars feature K-Tek’s trademark dimples and a “Soft-Touch” rubberized sleeve for an easier grip and more comfortable feel. The K-87CC comes outfitted with an internal coiled cable and a bottom XLR connector. The K-Mount microphone suspension (K-MT) offers users both the ruggedness of a shock mount and the isolation characteristics of more expensive suspension systems. The system features K-Tek’s unique 4-point polymer microphone suspenders (K-SUS) fitted precisely into a handsome cylindrical aluminum frame. The K-Tek Slip-On Fuzzy combines a high-quality faux fur exterior with a tightly woven fabric backing making it the only slip-on windscreen with an extra layer of wind protection. Users have a choice of a small medium or large windscreen to fit a multitude of microphones. Purchased separately these items retail for $685. K-Tek is offering the Klassic Traveler Kit at a package price of just $575. A second kit featuring the Avalon Traveler aluminum boom pole K-Mount and Slip-On Fuzzy is also available for $335. K-Tek www.ktekbooms.com ,586
Mark II First in Central Asia to offer All Uncompressed Digital Film Capture Workflow,2008-12-09, Mark II Productions of Almaty Kazakhstan has purchased an S.two production and post system to support their new Arri D-21 camera making them the first such company in the country to offer digital uncompressed field acquisition and associated workflow options.
“This is a fantastic system ” says Alex Berkovitch of Mark II. “We were very impressed with S.two and their proven track record in the field of uncompressed digital feature projects. These products make the acquisition of uncompressed images very easy and the workflows to move images and data are tried and tested on dozens of feature projects worldwide. The whole thing is simple and safe which is very important to us.”
“We are proud to participate in the emergence of Kazakhstan as the leader in Central Asian film production ” says Chris Romine president of S.two. “Mark II Productions is the ideal partner for this exciting new market.”
S.two Corporation www.stwo-corp.com ,587
The Foundry Ships Ocula Stereoscopic Tool for Post-Production,2008-12-09, The Foundry is now shipping Ocula – a collection of plug-in tools designed to solve common problems with stereoscopic imagery boost productivity in post-production and ultimately help to deliver a more rewarding stereoscopic viewing experience.
Ocula plug-ins are designed to automatically replicate key processes on left and right channels and help artists polish and refine stereoscopic material literally removing headaches from the final viewing experience.
“Since we announced Ocula at NAB 2008 this year the entire toolset has been through extensive beta-testing and further rounds of development ” says Dr. Bill Collis CEO The Foundry. “As Ocula plug-ins enable precise pixel-level manipulation of stereoscopic imagery they will help artists to refine and finesse stereo footage in a highly productive fashion. Ultimately Ocula will mean fewer headaches at the cinema.”
Matt Welford head of compositing at Weta Digital says “The team at Weta has worked closely with The Foundry on the development of Ocula. The result is a very useful toolset that solves many problems encountered during post production on stereo footage.”
Ocula’s tool set is based on brand new disparity-mapping algorithms created by The Foundry’s Academy Award-winning R&D team. Disparity maps track and correlate the differences in positional space and movement between corresponding pixels in the left and right cameras delivering pixel-level control over images. Knowing where disparities occur Ocula tools apply corrections by warping stretching and squeezing only the areas of an image that require treatment. Image manipulation using disparity maps is different to the X Y or Z-axis shifting of images where only whole image planes are being shifted.
Ocula plug-ins enable artists to apply a multitude of adjustments to stereo image pairs. All corrections can be made to the left and right eye channels either together or separately minimizing or eliminating discomfort from the stereo viewing experience.
Now shipping Ocula is priced at $10 000 / £5 000. The Foundry www.thefoundry.co.uk ,588
Panasonic New 64GB P2 Solid-State Memory Card,2008-12-09, Panasonic has announced the immediate availability of its new 64GB P2 solid-state memory card providing expanded recording capacity for its line of P2 and P2 HD camcorders and workflow products. Ideal for long-form production the high-capacity 64GB P2 (model AJ-P2C064)card allows professionals to record for hours offering double the record times of the 32GB P2 card and increased storage capacity for larger high-definition data files. The new P2 card also features an improved transfer rate of up to 800 Mb/s for faster transfer and offload of P2 content. Exceeding the typical storage capacity of tape and disc-based systems the reusable 64GB P2 card can hold more than five hours of DVCPro footage (356 minutes) more than two hours of DVCPro50 or AVC-Intra 50 recordings (128 minutes) or more than an hour of full raster AVC-Intra 100 or DVCPro HD content (64 minutes). With five 64GB P2 cards installed a VariCam 3700 or AJ-HPX3000 P2 HD camcorder can record for 10 hours and 40 minutes in AVC-Intra 50 or 5.3 hours in AVC-Intra 100 or DVCPro HD (6 hours and 40 minutes in 1080/24pN mode). Up to 13 hours and 20 minutes can be recorded in AVC-Intra 100 or DVCPro HD using the 720/24pN mode available in the VariCam 2700 or AJ-HPX2000 P2 HD camcorders. With P2 solid-state memory cards users can immediately access recorded content eliminating the need to digitize or process footage. Packaged in a rugged die-cast frame the P2 card is highly reliable and unlike tape and optical discs it is resistant to impact vibration shock dust and environmental extremes including temperature changes. P2 cards can store the complete range of P2 frame rates and formats from high definition to standard definition and from DVCPro to AVC-Intra 100. The P2 card can be connected instantly with laptop PCs and major non-linear editing systems eliminating the time-intensive digitizing process. For connection to laptop or desktop computers with ExpressCard slots professionals can utilize a PC card-to-ExpressCard adapter. Like the 16GB and 32GB P2 cards the 64GB P2 card is compatible with Panasonic’s full line of P2 camcorders recorders and workflow tools. The 64GB P2 card will work immediately with all P2 HD camcorders purchased from May 2007 forward. P2 and P2 HD products purchased prior to that date will need a free downloadable software upgrade available on the Panasonic website. The 64GB P2 card is available at a suggested list price of $2 600. Panasonic www.panasonic.com/broadcast ,590
RealD Opens London Office,2008-12-10,RealD has opened the doors to its first European office located in London. Bob Mayson as the newly appointed managing director of RealD Europe will lead a European team to oversee sales customer service and operations. A native of Leeds England Mayson comes to RealD after many varied roles with Kodak. From consumer marketing in Europe to his most recent as general manager and vice president of digital motion imaging in this role he managed Kodak's global digital cinema and post-production business. After working and living in Los Angeles since 1994 he makes the trek back to his homeland to take up this exciting new position. I have been a supporter and believer in RealD since I saw the first demonstrations of what has now become the market leading solution of choice for cinemas all over the world says Mayson. The excitement about digital 3D is fueled by the growing list of content. The formation of RealD Europe Ltd. gives us the opportunity to focus on further developing this lucrative market. Following on the success of North America having a European presence is a natural evolution for RealD says Michael V. Lewis chairman and CEO of RealD. Currently with exhibition partners in 13 countries and over 600 committed European screens we can't think of anyone better than Bob to manage our operation and look forward to working closely with him in the coming months to ramp up our London office. RealD www.RealD.com ,593
TigerTiger Post Upgrades Digital Intermediate Capabilities ,2008-12-10,Malaysian post-production facility TigerTiger Post has purchased a BrightDrive media recording system for a new commercials workflow. The system will provide a digital media-sharing infrastructure for TigerTiger Post’s range of digital intermediate applications. BrightDrive will have 30 TB of storage and will be connected to a Lasergraphics Director film scanner a da Vinci Resolve R250 color corrector an Autodesk Flame 2009 and Final Cut Pro editing systems. TigerTiger Post was established in October 2008 by Sunita Petrus and Al Isaac owners of Malaysia’s leading post house Superwonderful Films. Having already worked with high-profile agency projects and established a strong company image they wanted to offer a different approach to the SD-only telecine chains and tape-based processes traditionally used for commercials post in Malaysia. They launched TigerTiger Post inspired by what they saw at some of the leading post houses in Singapore and The Philippines that use data-centric workflows based on BrightDrive media recording systems. The objective was to benefit from the many cost and time efficiencies that can be achieved through data-centric processes and also to profit from new formats such as HD Red and P2. The company has already completed five commercials projects and is now scanning and color grading for several local feature films. “Using BrightDrive media recording as the heart of our data-centric workflow will give greater creative freedom with instant access to scanned or imported material from all the creative workstations ” says Petrus. “BrightDrive is easy to use reliable and will enable our operators to work together in a very flexible environment.” The Media Village www.mediav.com.sg Bright Systems www.4bright.com ,595
Video Games Currently the Biggest Winner of 3D Customer Demand,2008-12-10, Meant to be Seen has announced the preliminary results of the U-Decide Initiative an ongoing study of what customers think of 3D entertainment technologies and why. Made possible with the assistance of AMD iZ3D Blitz Games Studios The Game Creators and Guild Software U-Decide has become a credible determination of what customers think of 3D entertainment with hopes of dispelling the leading myths and assumptions about the technology. While the study is skewed to the game community it does offer some interesting insights about 3D in general. The U-Decide Initiative was designed to capture customer opinions in two separate online surveys. One was for traditional gamers who don’t yet own 3D equipment and the other was for experienced stereoscopic 3D gamers and consumers. Each respondent was required to answer 26 multipart questions. “3D is often judged before being seen. We wanted to learn how far apart the opinions were of traditional 2D and experienced 3D customers so our industry can have a reasonable measure of where we are and how far we can go. Currently the number of completed surveys is nearly equal between the customer types and this makes the data invaluable ” says Neil Schneider president and CEO of Meant to be Seen. Information learned from 2D and 3D customers include 3D hardware quality expectations perceived deterrents to 3D technology motivators or messages that connect with customers at a marketing level brand awareness for leading products and companies gaming performance expectations depending on game type and much more. The first finding is that only a minority of 2D customers thinks that 3D is tacky or uncomfortable. Nearly 26 percent of respondents think 3D is a “must have” technology and over 65 percent find it “intriguing”. Less than four percent think 3D is “tacky” and just over five percent think 3D “sounds uncomfortable.” For inexperienced 2D and existing 3D customers wearing comfortable 3D glasses is an insignificant barrier to the technology for some types of content. Only 12 percent of 2D customers object to 3D glasses for video games while this climbs to almost 30 percent for 3D broadcast television. Experienced 3D customers are more forgiving with a three percent objection level for video games and 12percent for broadcast television. Blu-ray movies fall in-between with 16 percent glasses objection for 2D and 4percent for experienced 3D customers. All respondents are nearly unanimous about one market. Stereoscopic 3D is most suitable for video games with an 87 percent suitability rating by 2D and nearly 97 percent rating by experienced 3D gamers. Despite not yet owning the technology 93 percent of 2D customers want game developers to officially support true 3D in their games and this climbs to 99 percent amongst 3D gamers. “The customers have spoken and it is clear that game developers have a real consumer need that requires answering. These findings will help them get it right the first time ” says Schneider. “Success in the at-home 3D cinema and content markets is going to be more selective and this new data will help ensure that 3D efforts tie in with customer demand for the best sales results.” The findings are still considered preliminary and the surveys will remain open until January 1st 2009. Participating respondents will qualify for a draw to win one of nearly 60 prizes including iZ3D 3D monitors ATI GPUs and a wide selection of video games by Blitz Games Studios The Game Creators and Guild Software. Gamers of all experience levels are encouraged to participate at http://www.mtbs3d.com/udecide.shtml. Preliminary graphics charts are available for download from mtbs3D.com in the U-DECIDE sub-menu and the complete report is expected to be available for purchase in January 2009. Committed MTBS partners and qualified game developers who accept complementary MTBS Certification can get the report for free. Meant to be Seen www.mtbs3d.com ,596
3D in the Home - How Close Are We?,2009-01-10,A new video from the Stereoscopic Displays and Applications conference has just been placed online. At the January 2007 Stereoscopic Displays and Applications conference Lenny Lipton and his guests discussed the topic of 3D in the home and how close we are to achieving this goal. Mark Fihn from the 3rd Dimension Newsletter Brett Bryars from the United States Display Consortium Art Berman from Insight Media and Steven Smith from VREX shared their views of how and when we will see 3D in the Home. Click here to view the video. ,638
Barco Sonic Equipment to Bring Digital Cinema to B&B Theatres,2009-01-10,B&B Theatres in Liberty Missouri has begun construction on a new eight screen all digital cinema in Hannibal Missouri. This is the first all digital theatre project for B&B theatres the 22nd largest theatre chain in the United States. Sonic Equipment Company the exclusive systems supplier for B&B Theatres and many other independent theatres across the Midwest is using Barco’s newest DP-1200 projectors as part of the installation. “Sonic Equipment Company has put themselves at the forefront of the digital integration thanks to the strong relationships built with partners like Barco ” says Eric Olson director of operations for SEC. “The quality and the user-friendly aspects of the Barco projector are a great fit for B&B ” says Dennis McIntire director of strategic planning for B&B. “B&B Theatres has begun the transition to the Digital technology with the help of SEC and looks forward to working together on their upcoming projects in the year ahead.” “Sonic has introduced a very effective business model whereby exhibitors can package their entire digital deployment including financing options for the equipment ” says Terri Westhafer director of business development for Barco. “Barco is proud to have been an integral component of their offering since its inception. We are very pleased to welcome B&B to our growing Barco family of mid-sized exhibitors who are embracing digital cinema with new all-digital complexes. Dennis McIntire and the owners of B&B are committed to quality and to making the digital transition in a timely and thoughtful manner. My Barco colleagues and I stand ready to assist and support them as they enter this exciting era.” The new theatre in Hannibal is set to open in late March. ,640
Centro to use Asia’s First DVS ProntoXway for 3D Projects,2009-01-10,Hong Kong animation and visual effects studio Centro Digital Pictures has installed the Asia Pacific Region's first DVS ProntoXway. The post house is utilizing the multi-channel disk recorder for the implementation of 3D applications and high-resolution presentations. The DVS disk recorder enables the post house to create images using uncompressed data material. With ProntoXway the editors at Centro are now able to process image data in real time and prepare it for playback. With two video channels the playback of stereoscopic content is easily possible using only a single DVS system. Thanks to its 2K option the ProntoXway is a future-proof piece of equipment and supports Centro's plans for the intensification of 2K workflows. Especially when realizing 2K projects Centro benefits from the reliability and the real-time features of the DVS disk recorder. Hon Fung senior engineer at Centro says DVS disk recorders enjoy an excellent reputation. With its reliability ease of use and ability to play back stereoscopic images ProntoXway offers us exactly the features that we need. Eric Augereau sales director region Asia-Pacific at DVS says We are happy to have installed Asia's first ProntoXway at Centro. With ProntoXway Centro now owns a future-proof system that is ideally suited for Centro's 3D projects. Centro Digital Pictures www.centro.com.hk ,642
Dadi First in China to Use Barco’s DP-1200 Projector,2009-01-10,Dadi Digital Cinema Development will be the first to deploy Barco’s DP-1200 digital cinema projector in China. The DP-1200 is designed for small screen environments. Dadi Cinema Development is a subsidiary of Dadi Culture & Media Group which is composed of a corporate group of media and technology companies. The group’s businesses focus on motion pictures releases the digital cinema construction and the development of new media. In 2008 Dadi Cinema invested in more than 100 movie theatres 300 screens and 100 000 seats throughout Guangdong Zhejiang Shandong Jiangsu Beijing Shanghai and Anhui provinces. “We’ve been using Barco products for more than four years now ” says Liu Rong general manager of Dadi Media. “Our experience with Barco has been nothing but positive; we’re looking forward to a successful future working together.” Barco has contracted with Dadi Digital Cinema to deploy both the DP-1200 and DP-2000 digital cinema projectors. “As digital cinema continues to expand in Asia and particularly here in China our partnership with Dadi benefits all of us especially the movie-viewing public ” says Frank Christiaens Barco president for Great China. The DP-1200 is the latest addition to Barco’s DP series and with the 0.98-inch DLP cinema chip is designed to accommodate small venues. The DP-2000 is a digital cinema platform for large and mid-market venues and is suitable for a wide range of screens up to 20m. Barco particularly in the growing China market has been providing Dadi Digital Cinema with digital cinema projectors since 2005. “We’ve been working with Dadi since 2005 ” says Christiaens. “It goes without saying that they are one of the most important players in the digital cinema market and we at Barco are truly pleased to partner with such a forward-looking company.” Barco www.barco.com ,645
Doremi to Integrate RealD 3D EQ in Digital Cinema Servers,2009-01-10, RealD and Doremi have reached an agreement to integrate RealD’s proprietary 3D EQ technology in Doremi’s digital cinema servers. This new feature will be available on all new Doremi servers beginning in March; existing Doremi servers will be updated in all RealD installations at that time.
“RealD’s 3D EQ technology significantly improves the viewing of 3D cinema features ” says Joshua Greer president and cofounder of RealD. “Traditionally this process is incorporated into the master by our studio partners. By moving this process into the theatres it allows us to simplify the distribution process while optimizing the viewing experience. It’s a win-win for the studios exhibitors and audiences.”
“Doremi strives to provide exhibitors and distributors with the best feature sets available in its digital cinema servers ” says Michael Archer vice president of Doremi Digital Cinema. “Integrating the RealD ‘ghostbusting’ technology in our DCP line of servers illustrates another example for Doremi’s leadership in digital cinema server technology and commitment to its customers needs.”
Doremi digital cinema servers are currently installed in more than 80 percent of all RealD locations.
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IndiePix Announces Partnerships with iTunes Film Distributor Dogwoof,2009-01-10,IndiePix has announced an exclusive partnership with Apple iTunes. At the same time IndiePix also announced a strategic partnership with Dogwoof the UK film distributor specializing in independent films and world cinema. The iTunes agreement which was brokered through New Video an independent film and collectible television series distributor will enable film lovers to download independent movies straight to their iPods or iPhones. The alliance with Dogwoof will enable IndiePix to extend its film distribution across the UK and enable Dogwoof to distribute its titles into America. The partnership provides significant opportunities for each distributor to dramatically extend its industry and consumer links. In addition this alliance provides a framework on which other strategic relationships can be built as this collaboration continues to grow globally. As part of the iTunes agreement IndiePix will initially provide five of its most popular and appealing films to iTunes – which will then be available for purchase or rent. These movies will then be added to on a monthly basis as IndiePix grows its iTunes catalog. The first title is the festival and audience favourite Red Without Blue cited by the LA Times for finding mystery and beauty in the unshakable bonds of family. Following that premiere release are: the popular homelessness documentary Skid Row which features Grammy Award-winning Fugees star Pras Michel; Off the Grid: Life on the Mesa where a loose-knit community of eco-pioneers teenage runaways war veterans and drop-outs live on the fringe and off the grid; Cocaine Angel which captures a grinding and tragic week in the life of a weary young drug addict who is clinging to the remnants of his once hopeful existence; and the London Times Top Ten Best Crime Movies Ever film City Unplugged the Estonian-based Russian mobster heist described as Reservoir Dogs goes Baltic by the New York Daily News.
Our partnership with New Video and iTunes is another strategic way for us to extend the reach of independent films and really target the 18 to 29 age group says Bob Alexander president of IndiePix. More and more young people are becoming interested in making and watching independent movies. The iTunes audience is different – people who use iTunes are part of a generation that expects things to happen quickly. So being able to offer these films straight to their iPods really is going to make it easier for them to be accessed.” As part of the agreement Dogwoof will promote IndiePix's leading titles across the UK through a variety of distribution formats including theatrical screenings DVD sales TV contracts and online distributions. IndiePix currently has over 3 000 titles within its film catalog and will work with Dogwoof to build a portfolio of titles for the UK audience. The controversial documentary End of America based on the book by author Naomi Wolf will be the first IndiePix title to go-live in the UK through Dogwoof. The film has drawn mass audiences across the US and is expected to repeat its performance in Europe when it is released in the UK in January. At the same time Dogwoof will be in a position to acquire broader rights and step up its offers for UK titles. IndiePix is especially pleased with the opportunity to build a special offering of UK filmmakers around this joint distribution initiative says Ryan Harrington head of IndiePix Studios. Dogwoof has great taste and judgement in the films they are offering and it is clear that we are simply kindred spirits in our approaches to Independent Film. We are pleased to launch this venture with IndiePix as both companies see a positive outlook for Independent Film generally and the documentary sector in particular says Andy Whittaker CEO Dogwoof. With a competitive cost structure a growing audience as well as greater connectivity to digital content this partnership will help us to continue developing a strong offering for both filmmakers and consumers alike. Alexander says At a time when traditional independent film distributors are struggling we hope this collaboration will step up for the many fans who seek a special vision of the world and of course the filmmakers who are continuing to pursue their craft and develop their voice. This partnership stems from synergies within both companies and we are delighted to be working with a leading UK film industry organization. We have worked hard over the last year to align IndiePix with some of the leading industry organisations Alexander continues. This latest agreement with Dogwoof will really springboard both companies into new and target geographies and continue extending our mutual commitment to widening the reach for independent films. Time and time again we have seen that the traditional distribution models just do not work for independent films – so over the last few months we have formed some really strong alliances with leading industry organizations such as the Cinema Guild SNAG Films Cinema Daily Motion and now iTunes and New Video. All of these partnerships will go a long way in helping us to achieve our ultimate goal – which is of course to offer as many distribution channels as possible and bring independent films to the mainstream.”
Dogwoof www.dogwoof.com IndiePix www.indiepixfilms.com ,649
48HFP Tour to Begin at April’s NAB Show,2009-01-10,NAB Show organizers and the 48 Hour Film Project announced that the 2009 48HFP tour will begin at the NAB Show in Las Vegas in April. The 48HFP competition established in 2001 promotes filmmaking creativity and teamwork by providing participants with a compelling topic and prop and giving them two days to write shoot and edit their film. More than 35 000 filmmakers from 75 cities will participate in the 2009 48HFP competition. The tour will officially begin with the Las Vegas city competition which kicks off at 7 p.m. on Friday April 17. Filmmakers will complete their films by 7 p.m. on Sunday April 19. Entries will be evaluated by a panel of judges including leading filmmakers movie critics and producers and the winners will be screened at a local Las Vegas theatre. A special screening of the 2008 competition winners will take place in the NAB Show Content Theater. Beginning in 2010 the NAB/48HFP partnership will bring Filmapalooza an awards event honoring the competition's top film submissions to the NAB Show. The NAB Show provides production and post professionals with an in-depth look at the content lifecycle examining how the latest developments in technology contribute to the creation and delivery of next generation video and film content says Chris Brown executive vice president of conventions and business operations at NAB. There is no better place to begin the 48 Hour Film Project than the NAB Show. We are pleased that our partnership with the 48 Hour Film Project will contribute to this valuable competition that strengthens the creativity and teamwork of so many of tomorrow's filmmakers. We are thrilled to extend our existing partnership with the NAB Show by kicking off our annual competition in Las Vegas says Mark Ruppert co-producer of 48HFP. Liz Langston 48HFP co-producer says The NAB Show and Content Theater provide a tremendous opportunity for our artists to showcase their work before the industry's most influential content creators digital innovators and entertainment technology leaders. The 48 Hour Film Project www.48hourfilm.com The NAB Show www.nabshow.com ,654
NBA All-Star Event to be Shown Live in 3D on 160 US Movie Screens,2009-01-10,Turner Sports The National Basketball Association and Cinedigm Digital Cinema have announced that they will team up to broadcast TNT's coverage of NBA All-Star Saturday Night February 14th in live 3D to 80 digitally-equipped theaters across the United States. The companies say the announcement represents the first-ever fully marketed deal to deliver an NBA sporting event to the public in live 3D. The live 3D HD event will be shown on a nationwide basis and continues to expand the league's groundbreaking efforts in 3D HD. Overall the live 3D HD event will be shown on up to 160 screens in Carmike Cinemas Celebration Cinemas Cinema West Emagine Galaxy Theatres Marquee Cinemas MJR NCG Rave Motion Pictures Showcase and UltraStar Cinema locations and will serve fans in 35 states across the country. Turner Sports is excited to work with Cinedigm to extend our brand as well as that of NBA All-Star Weekend into a new arena through this creative and innovative viewing opportunity says David Levy president of Turner Broadcasting Sales and Turner Sports. We are proud to once again be on the cutting edge in providing NBA fans with a truly unique and comprehensive 3D viewing experience during NBA All-Star Weekend. This partnership demonstrates that Turner continues to provide new and innovative concepts for NBA fans to enhance the viewing experience. Turner is the ideal partner to work with in delivering the next evolution of 3D HD to our fans says Steve Hellmuth executive vice president operations and technology NBA. The last few seasons we have embraced 3D HD as a new and innovative way to experience the excitement of our game and look forward to putting fans coast-to-coast in a courtside seat for All-Star Saturday Night. Cinedigm is the only company that can deliver live 3D broadcast on a nationwide scale to cinemas and we are thrilled to be working with Turner Sports and the NBA on this event says Bud Mayo chairman and CEO of Cinedigm. This groundbreaking publicly available event is a demonstration of the benefits brought to audiences through true digital cinema experiences. Whether it's bringing live 3D events or 3D movies to theaters or allowing theaters to custom-tailor the content they deliver to moviegoers we are bringing new cinema-based entertainment options to consumers and new revenue streams to theaters. Cinedigm www.Cinedigm.com ,655
The Great Camera Shootout,2009-01-10, When DP Joe Stunzi came to Chicago to test all of the new HD cameras on the market against each other he initially had hopes of making a short video using the new Canon 5D Mark II. However Zacuto’s Steve Weiss Jens Bogehegn and Scott Lynch decided that another 5D MKII fluff piece is not what was needed. We needed to see the 5DMKII in relation to other cameras says Weiss. So the Great Camera Shootout of '08 was born. In this video you will hear the four men discuss what they liked and disliked about each of the HD cameras and DOF adapters. “This test is really for independent filmmakers and web cinematographers who are creating content with the look and feel of a 35mm motion picture ” says Weiss. In the video you can see a same shot comparison of: 35mm motion picture Red EX3 HVX200 HPX170 HPX3000 Sony EX3 Nikon D90 Canon 5D Mark II Letus35 Ultimate and Elite DOF adapters RedRock Micro and more. Follow a discussion by four filmmakers ranging in age from 18-46. Click here to watch the video. ,656
AAM Secures Funding for European Satellite Distribution,2009-01-12,Arts Alliance Media announced that it signed agreements for 43 million euros of funding from pan-European services company Econocom and various private investors together with a long-term strategic partnership agreement with Arqiva Satellite & Media for the satellite distribution of films and alternative content live events into European cinemas. Econocom Financial Services will provide financing of 20 million euros for the purchase of equipment to complete the Circuit George Raymond's digital cinema deployment in France. CGR based in La Rochelle have installed 126 digital screens to date via its virtual print fee-based rollout agreement with AAM and is aiming to complete the digital conversion of 100 percent of the circuit's 400 screens by Spring 2009. The CGR deployment will complete in time to play next year's expected 3D movie releases such as My Bloody Valentine (Lionsgate) Monsters vs. Aliens (Dreamworks) Up (Pixar/Disney) Ice Age 3 (Twentieth Century Fox) Planet 51 (Sony Pictures) Toy Story 3D (Pixar/Disney) and Avatar (Twentieth Century Fox). Currently there are 13 3D movies scheduled for theatrical release in 2009. The additional 23 million euros (of the total 43 million) was raised from private investors and will fund the continued growth of AAM with particular focus on building up the group's infrastructure and support network for its European digital cinema deployment business as well as developing new revenue streams. The new investors will have a minority shareholding in the AAM group. Howard Kiedaisch AAM's chief executive officer says We are delighted to announce this fantastic news especially in today's challenging economic climate. The significant investments and new partnerships with Econocom and Arqiva are a tremendous boost and strengthen us to forge ahead with building the largest digital cinema delivery network in Europe to which we can deliver digital content—films alternative programming and live events. Christian Levie chief funding officer Econocom says Digital cinema is transforming the movie-going experience and taking film exhibition and distribution into a new and exciting future. We are proud to be a part of this revolution and to be joining forces with Arts Alliance Media. The digitization of CGR's screens in France is the first step for us and we look forward to a long and successful partnership with AAM throughout Europe. The VPF business model is a means of financing the conversion to digital cinema where both distributor and exhibitor contribute over time towards the total cost of the digital projection and server equipment funded up front by the rollout entity (AAM). Jocelyn Bouyssy general manager of CGR says We are delighted to see that in the current market the VPF model is clearly validated and supported by financial partners. We hope that the completion of our digital roll-out in Spring 2009 will convince all French distributors to jump on board and seize the tremendous opportunities of digital cinema and 3D. Chantal De Vrieze country manager Belux Econocom says Econocom Financial Services was chosen for its flexible approach towards the digital cinema roll out needs and VPF model as well as for its ability to find an appropriate financial structure in those turbulent markets. Barrie Woolston commercial director at Arqiva Satellite & Media says We're thrilled to partner with Arts Alliance Media and move into the cinema business which is going through a huge digital transformation. Satellite transmission of films to cinemas is the future of film distribution and exhibition and our extensive international satellite infrastructure together with AAM's proven digital cinema expertise is a strong proposition for European cinema exhibition and distribution. Patrick Foley AAM's chief financial officer says To be able to attract investors and partners of this caliber further verifies our digital cinema business and will open up great opportunities for AAM. The Arqiva/AAM partnership agreement sets out an action plan for the development of a content delivery platform and network for film distribution via secure satellite. Extensive research development and testing were completed. In October 2008 AAM and Arqiva distributed the 2008 Palme d'Or winning film Entre Les Murs to CGR Cinema's megaplex site in Villenave d'Ornon Bordeaux France. The full digital cinema package was transmitted via satellite direct to the library server at the cinema without any operator intervention. Arqiva and AAM are also working together on the live HD transmissions of the opera and ballet performances from the Royal Opera House and other leading venues to cinemas across Europe. Widespread commercial digital cinema rollout across Europe will enable exhibitors distributors and the entertainment industry at large to reap the substantial benefits of digital cinema. Arqiva www.arqiva.com Arts Alliance Media www.artsalliancemedia.com Econocom www.econocom.com ,657
Bollywood Meets Hollywood in Digital Production Era
,2009-01-12, India is building a new cultural legacy—the movie business. Bollywood releases 1 000 films annually approximately 10 times what Hollywood produces each year. And like Hollywood more and more of Bollywood’s films are going digital.
Despite its prolific output the film business in this movie-obsessed society of more than a billion people is just getting geared up. For years moviegoers have flocked to Bollywood's traditional song-and-dance fare which was once described by NPR reporter Holly Kernan as three-to-four hours long chock full of songs and never sticking to just one genre.
While no one foresees those kinds of films going away the business is certainly expanding creatively as well as financially. Indian filmmakers are increasingly using digital filmmaking technologies for visual effects animation and post-production. The rise of multiplexes is allowing a wider variety of films to be distributed. Meanwhile Bollywood is investing in Hollywood and vice versa.
What's happened is the Bollywood folks are starting to take notice of what's going on worldwide and they're saying we want to get involved in this says Laura Dohrmann Nvidia's Digital Film Group marketing director who heads up the company's Digital Bollywood Initiative. Based in Mumbai Dohrmann's role is to help local studios develop the digital filmmaking community with training expertise and educational initiatives. Because of her regular interaction with most of India's major production houses Dohrmann has a unique perspective on the evolution of Bollywood filmmaking.
Among the milestones she cites is last year's release of Krrish the first major superhero movie to be produced in Bollywood complete with visual effects. Two other recent films Om Shanti Om and Chak De India featured visual effects by Red Chilies a production company founded by actor Shahrukh Khan. At the same time the growing business is attracting international players. Sony DreamWorks and Disney have forged relationships with Indian production houses and mainstays from Hollywood production such as Rhythm & Hues are opening dedicated facilities in India.
The way Rhythm & Hues chose to address the Indian market is unique because it's not an outsourcing or offshore model says Prashant Buyyala managing director of Rhythm & Hues India. Essentially the artists and support staff are like employees of the Los Angeles office in another building.
We kind of moved the building halfway around the world Buyyala says. We don't have any separate Indian projects or Asian projects or separate tasks that are done in India. It's all one common pool of resources. We have the same network the same software the same projects the same tasks and everything.
Most of Rhythm & Hues' projects are for Hollywood feature films or television commercials. When a project comes in if a producer needs 30 animators they are drawn from a geographically agnostic pool. It could happen to be that 10 of the animators are in India and 20 happen to be in LA Buyyala says. The same shot actually can go back and forth between all the facilities. For a single shot the animation might be done in LA the lighting might be done in Mumbai and the final effects might be done in Hyderabad. So it's completely transparent even in a single shot.
Other Hollywood production companies and studios are using modified offshore models that illustrate the truly global nature of the film industry. DreamWorks for instance has struck a strategic partnership for Indian production that might best be described with a flow chart. The DreamWorks Animation Unit in Bangalore is a dedicated unit of Paprikaas which is majority-owned by Thomson. Thomson invested in Paprikaas to build up its Technicolor Content Services division. Altogether Technicolor has four divisions operating out of Paprikaas which in addition to the DreamWorks Animation Unit include Paprikaas Animation Paprikaas Interactive-Video Games and Paprikaas Visual Effects for Moving Picture Company London.
Paprikaas Animation as a separate Technicolor division maintains its own offices in Los Angeles and Bangalore in a more traditional offshore production model. Vice president of business development Sanjee Gupta represents Paprikaas Animation in Los Angeles meeting with clients to discuss using the Paprikaas Animation production staff in Bangalore.
The same way that most Hollywood deals are done most of Gupta's business comes via relationships and word of mouth. Given the nature of production it relies heavily on freelance artists and producers Gupta says. They tend to move from project to project as the production schedules ebb and flow. Quite a few of those people have now dispersed onto other projects and our name has just proliferated through the marketplace. The increasing influence of Bollywood is evident in another trend a kind of reverse offshore production model. One example is the purchase of Post Logic Studios a post house with offices in New York and Los Angeles. Another sign of the times is that the first Indian production at Hollywood's Universal Studios is being shot—Kambakkht Ishq (Incredible Love)—with Sylvester Stallone in a starring role.
Although India has many talented digital artists the rapid expansion of the industry demands ever-increasing numbers to keep up with demand. Consequently one of the most important ongoing initiatives is training and supporting artists. There's a lack of training and such a tremendous desire for it says Dohrmann. The challenge is the animation and effects industry in India is fairly young. Many artists and animators working in Los Angeles have 20 or more year’s experience. We don't have people who have been in the industry with that much experience unless they are transplants to India.
There's a shared commitment to training and educating among all the key companies in the Indian film industry including competitive companies. Dohrmann works with companies such as Big Animation Rhythm & Hues DreamWorks Autodesk and local companies to advance the cause. We're really all trying to be involved in it together she says.
Other events are more oriented towards community building such as Women in Animation which Nvidia has supported through its Women in Technology group. We've done two really great events Dohrmann says. We had probably 2 000 people show up for the two events combined. They were great and really well received. We also do CG Meet-Ups which are monthly meetings where people come together to talk about modeling texturing or rendering or production challenges. There's also a concerted effort to establish educational curriculum standards. We want to help establish core competencies in digital production including what the exit competencies need to be from a training program what the entrance competencies need to be and how much emphasis needs to be placed on art says Dohrmann. Anyone can learn software but being an artist isn't something you can learn. You either have the inherent skills or you don't. There is no gray area.
To put the flurry of activity and investment surrounding Bollywood in perspective a report issued by the consulting firm PriceWaterhouseCoopers last year projected that annual revenues for the Indian film business would reach $4.5 billion by 2010—up from about $2 billion in 2006.
The view from ground level in Mumbai bears that out. If you look at London Paris Los Angeles San Francisco over the next three years I don't expect to see more than five studios opening in any of those cities any time soon says Dohrmann. But over the next three years I expect to see a minimum of five studios opening in India. There's just so much interest in the possibilities India holds along with people who want to get involved in this up-and-coming market sector. Nvidia Corporation www.nvidia.com Paprikaas Animation www.paprikaas.com Rhythm & Hues www.rhythm.com
New Projectors Claim to Show All Aspect Ratios
