This year, for the first time the organizers of CinemaCon will present and Excellence in Event Cinema Award. The award was designed to recognize innovative content that is transforming cinemas into entertainment venues by expanding the traditional definition of the movie theatre.
The speakers are set for the second annual Digital Cinema Summit to be held February 12 at the Hotel Okura in Amsterdam the Netherlands. The theme of the half-day event is The Changing Cineplex. During the event we will highlight how advances in digital cinema technology are reshaping movie theatres and the entire movie-going experience. Digital Cinema Report readers can get thirty percent off the registration fee by using this code: DCS 419882.
Seventeen years after Bad Boys ll, the Bad Boys Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) teamed up again for one last ride in Sony Pictures’ worldwide box office hit, Bad Boys for Life. Car chases, gun battles, explosions and other forms of mayhem—all requiring robust sound treatment—occur throughout the film, but the story is driven by the hilarious bad-boy banter between Mike and Marcus. Capitalizing on every twist and turn of the action sequences while allowing the humor to punch through was a challenge for the sound artists.
NEC Display today announced the release of a new 18,000-lumen digital cinema projector to complete the world’s first series of modular laser projectors, providing exhibitors with what the company says is a truly versatile and future-proof solution. With the option to replace the laser light module in the projector head, the NC Series delivers 2K-imagery on small to medium screens while making installation and maintenance simple. Pricing was not disclosed.
Star Trek: Picard, the highly anticipated streaming series from CBS All Access, relied on two complete sets of Cooke Optics Anamorphic/I Special Flair lenses to tell the story. The follow-up series to Star Trek: The Next Generation, and centers on Captain Jean-Luc Picard (Sir Patrick Stewart) in the next chapter of his life. Director of photography Philip Lanyon’s goal was to give this new series a big movie adventure epic saga feel — while keeping fans in a familiar visual world.
This year at Sundance, more films than ever have been created with Adobe Premiere Pro, making Adobe the most used editing software at the festival for the second year in a row, based on an official Sundance survey. The majority of films (56 percent) chose Premiere Pro for editorial software.
For the first time at the Hollywood Professional Association’s Tech Retreat, this year’s Supersession will present a live production – from acquisition through post – of a short movie, in near real-time. The culmination of the production will be a screening of The Lost Lederhosen at the day’s conclusion. Joachim Zell, vice president of technology at EFilm, will be at the helm of this year’s event.
Continuing its long association with the world’s best independent films, Alchemy Post Sound provided Foley sound services for nine films screening at this year’s Sundance Film Festival. They include three films participating in the festival’s prestigious U.S. Dramatic Competition and two included in its Premieres track.
The Motion Picture Sound Editors association has elected Mark Lanza as president. Lanza is an award-winning supervising sound editor and currently serves as the organization’s treasurer. His two-year term as president begins in January. He succeeds Tom McCarthy.
A major pain point for companies using content supply chain tools in the cloud has been having to download an Interoperable Master Format package locally and re-upload it in order to actually deliver it to a platform. Here’s an all-too-common scenario: you’ve already ingested your content into the cloud, made all the required localizations, and performed final quality control procedures, but when it’s time to deliver your content, it could take you hours upon hours to download and re-upload it to the platform.
