AMC Entertainment® Opens All-Digital AMC Orchard 12 on April 4

 

Westminster, Colo. (March 31, 2008) - AMC Entertainment Inc. (AMC), one of the world's largest and most innovative theatrical exhibition companies, announced today AMC Orchard 12 at The Orchard Town Center will open to the public on April 4, bringing the gift of the best possible out-of-home entertainment experience to the northern Denver metro area this spring. To commemorate the new theatre opening, all guests who visit the theatre during the opening weekend will receive one free small popcorn with each ticket purchased.

 

A movie-lover's dream come true, this new state-of-the-art theatre is the first all-digital theatre in the area and is equipped with Sony® 4K digital cinema projectors, capable of producing images with more than four times the resolution of HDTV. As if all-digital screens weren't enough, two auditoriums at AMC Orchard 12 boast screens that are more than three stories high and 50 feet wide, helping showcase highly anticipated films such as Universal Pictures' "Leatherheads" and DreamWorks Pictures' "The Ruins."

 

AMC is known for many of the innovations that moviegoers enjoy today, including the multiplex and North American megaplex concepts. Guest satisfaction has been the foundation of the AMC experience, where our guests have been the stars since our inception in 1920.

 

Guests will "Experience the Difference®" at AMC Orchard 12, as a 40-foot-high glass façade greets guests as they enter through an open courtyard and begin their premium entertainment experience. The theatre is adorned with AMC's signature design concepts, including sensational high-mural celebrity graphics, movie quotes inlaid in terrazzo flooring, entertaining directors' series photographs and a modern-day rendition of the red carpet, in addition to an expansive concession stand featuring items from Clip's PicksSM concession value menu.

 

AMC Orchard 12 features AMC's signature quality, comfort, service and convenience, and will showcase modern amenities including:

•             Twelve auditoriums with nearly 2,200 seats.

•             Stadium seating with 18-inch risers and 48-inch row spacing for a perfectly clear, unobstructed view in all auditoriums.

•             AMC's exclusive and ultra-comfortable LoveSeat®-style seating featuring "rocking" backs and lifting cupholder armrests.

•             Digital Projection Technology in all auditoriums featuring SXRD™ 4K digital cinema projectors from Sony, capable of producing images with more than four times the resolution of HDTV.

•             Uncompressed digital six-channel audio coupled with Dolby® Digital signal processing in every auditorium for clear, dynamic distortion-free audio and lifelike special effects.

•             Floor-to-ceiling, wall-to-wall curved premium movie screens in every auditorium, featuring two auditoriums with screens that are more than three stories high and 50 feet wide.

•             AMC's proprietary Digital Theatre Distribution System® (DTDS) for enhanced pre-show entertainment that includes a first-look access to everything from movies, television, music, sports and advertising.

•             Large, efficient, fast-serve concession area with digital menu boards offering a wide variety of moviegoers' favorite theatrical food and beverage options, including free refills on large fountain drinks and large popcorn.

•             A custom-designed gaming area featuring top-performing arcade games with wide appeal, allowing guests an opportunity to enjoy relaxed or competitive play before or after their movie experience.

•             AMC Guest Services area for superior guest service.

•             Advance credit card tickets sales by phone or online at www.amctheatres.com.

•             Four Automated Box Offices (ABOs) for easy ticket purchasing and advance ticket order pick-up.

Moviegoers visiting AMC Orchard 12 can expect to enjoy best-in-the-business guest programs offered exclusively at AMC theatre locations including:

•             A.M.Cinema® - provides morning guests the opportunity to see first-run movies at the best ticket price of the day ($5) before noon on select Fridays, Saturdays, Sundays and holiday periods.

•             AMC MovieWatcher - the industry's first moviegoer loyalty program that is absolutely free. With each movie ticket purchased, members earn points toward free drinks, free popcorn and free movies. Also, members who visit an AMC theatre on Wednesdays receive a free small popcorn with every ticket purchased. Rewards increase when an account is activated online at MovieWatcher.com.

•             Clip's Picks - a first in the theatre industry, gives guests the opportunity to save at the concession stand when they select items from the value menu. Items can be purchased for $3 each or three for $7.50, representing a savings of more than 15 percent when purchased together. Clip's Picks value menu is available seven days a week, all day at all of AMC's locations in the United States and Canada

•             (except Quebec).

Located on the northwest corner of I-25 and 144th Avenue in Westminster, Colo., AMC Orchard 12 is the entertainment anchor of The Orchard Town Center. Additional information about the grand opening can be found at www.amctheatres.com/orchard.

 

About AMC Entertainment Inc.

Headquartered in Kansas City, Mo., AMC Entertainment Inc. is one of the world's largest and most innovative theatrical exhibition companies. With a history of industry leadership dating back to 1920, the company today serves more than 240 million guests annually through interests in 359 theatres with 5,138 screens in six countries. www.amctheatres.com.

 

Digitalfie, Digital Cinema Consortium, Plans for Digital Cinema Services

http://www.digitalcinemainfo.com/digitalfie_05_21_08.php

 

May 21, 2008

 

Source: Digitalfie

 

Digitalfie, a digital cinema industry consortium has announced plans to begin testing a series of new digital cinema services that the group says can help exhibitors increase sales by as much as a fourth.

 

The pilot project will be hosted by U.K. digital exhibitor Kino Cinemas, one of the members of the consortium, but it is open to other European exhibitors as well.

 

Other Digitalfie members include digital server manufacturer Doremi, Austrian software developer SiTec and German-based consultancy Peacefulfish.

Barco Launches Global Training and Certification Program for Digital Cinema Installers

http://www.digitalcinemainfo.com/barcodigitalcinema_05_23_08.php

 

May 23, 2008

 

Source: Barco

 

Barco, a leading manufacturer in digital cinema and display technology, announces the launch of its global digital cinema installation certification program. For the Americas, a dedicated training facility has been specifically designed for the program in Rancho Cordova, California. EMEA training sessions will be performed in Belgium, and APAC trainings will be run in each territory where they will be adapted to each market’s specific language needs.

 

 

The four-day certification course, which is the culmination of over a year of planning and customer feedback, is designed to give digital cinema technicians the knowledge and experience needed to properly install and maintain Barco Digital Cinema Projectors. By developing a training program and a certification standard, Barco ensures that its customers can confidently choose a certified maintenance and installation provider — one who has met Barco’s exacting standards and has hands-on experience with Barco’s DP series of Digital Cinema Projectors.

 

“Digital cinema is a significant evolution in the entertainment industry,” said Todd Hoddick, Vice President for Digital Cinema in Barco’s Media and Entertainment Division. “And with any change of this magnitude, we need to invest time and care in the people who run the technology, ensuring that they get the most out of Barco’s solutions for their business.”

 

The course, he added, is an important component in an ongoing drive to deliver the company’s considerable technical know-how and support to its customers. “This training program is an explicit, important investment, designed to grow relationships and help our customers succeed in their business with Barco technology,” he said.

 

Erik Iversen, Technical Training Manager for Barco’s Media and Entertainment Division, agreed. “The course was developed in response to customer feedback, and with the involvement of the company’s digital cinema customers,” said Iversen.

 

According to Iversen, one critical need that customers repeatedly expressed was for certification that includes hands-on, real-world experience with projection equipment. The Digital Cinema Installation Certification program more than meets that need. During the course, extensive time will be spent working directly with Barco’s DP series of Digital Cinema Projectors, and each student will have the opportunity to complete at least two installations.

In addition, students receive the theoretical background needed to work with these premiere projectors. Major topics covered during the course include:

 

Introduction to Digital Cinema

Projector components

Specifying lamps, lenses, and projectors for the environment

Installation procedures

Communicator software

Upgrades, troubleshooting, and maintenance

 

A specially-designed training facility in Rancho Cordova, California simulates the theater environment and provides the opportunity to install lamps, optimize optics, upgrade software, and perform all the processes required for professional installation and maintenance of Barco Digital Cinema Projectors.

 

“By the time students complete certification,” Iversen said, “they have all the knowledge and practical experience they need to successfully install and maintain Barco Digital Cinema Projectors.”

 

To achieve certification, students must pass a challenging written test and successfully install a digital cinema projector. Installation certification is a pre-requisite for Barco’s upcoming and more technical digital cinema projector service and troubleshooting course.

 

Course instructors are Barco Field Services Engineers, who are expert at installing digital cinema systems. To ensure that students receive personalized training, class size is limited to eight (8) students.

 

 

To sign up for this program, or to obtain information about other Barco training courses, go to http://www.barco.com/digitalcinema/ and click the Training link. To obtain information via email, use the proper address below for your specific region:

 

For the Americas: Training.Events.USA@barco.com

For the EMEA region: Training.DigitalCinema.Europe@barco.com

For the Asia-Pacific region: Training.DigitalCinema.AsiaPacific@barco.com

 

 

Movie downloads exceed 2.5 bil in '07 - Camcording responsible for 9 out of 10 pirated films

http://www.hollywoodreporter.com/hr/content_display/news/e3i92f29f82847baa411148a7d81ce75c12

 

By Leo Cendrowicz

 

May 27, 2008, 04:34 PM

 

BRUSSELS -- More than 2.5 billion movie files were downloaded worldwide in 2007, 2.5 times more than in 2006, according to figures from the MPA released in Brussels on Monday. The MPA report also revealed that more than 17 million people are simultaneously using the six largest peer-to-peer networks at any one time.

 

The report revealed that in nine out of 10 cases, camcording was the source of the illegal movies circulating on the Internet. It said camcords are recordings by "release groups," and the tapes are often sold to organized crime networks that use them to produce illegal DVDs on a large scale just a few days after their recording.

 

The figures were unveiled by the Belgian Anti-piracy Federation and European cinema chain Kinepolis as they launched a new campaign against a recent surge in piracy in theaters with video cameras or cell phones. The campaign involves a blend of deterrents and incentives to clamp down on the phenomenon: Trailers will warn that the full force of the law -- fines of as much as 550,000 euros ($867,000) and three-year jail sentences -- will be heaped on those caught pirating, while other cinema patrons will be tempted with DVD gift packs if they text authorities with tips about pirates operating in the theater.

 

Last year, the BAF began using digital techniques to successfully clamp down on piracy through security measures in distribution channels, including the transport firms, distribution centers, laboratories and theaters.

Studio deals extend digital cinema in Europe - Warners, Paramount, Fox, Disney sign with XDC

http://www.hollywoodreporter.com/hr/content_display/film/news/e3idd76da9cd5a7a6ac4d6e824d82d5b530

 

By Carolyn Giardina

 

May 26, 2008, 07:02 PM

 

Updated: May 26, 2008, 07:02 PM

 

In a move that could jumpstart the digital cinema transition in Europe, Warner Bros., Paramount Pictures, 20th Century Fox and Walt Disney Studios have signed virtual print fee-style agreements that could result in the rollout of 8,000 new digital cinema installations in 22 countries.

 

There are now fewer than 1,000 digital cinema screens installed on the continent.

 

The agreements have been reached with XDC, a Belgium-based digital cinema service company that is preparing a digital cinema deployment plan.

 

XDC is expected to reach similar European agreements with Universal and Sony in the near future. It plans to negotiate comparable financing agreements with European movie distributors.

 

Warners, Paramount, Fox and Disney have agreed to co-finance more than 65% of the value of digital exhibition systems for a estimated investment up to AC;600 million ($947 million) over a maximum 10 years from the point of installation. The roll-out period would last for five years at most.

 

However, other hurdles remain before XDC can begin work. The company must sell its co-financing proposal to Europe-based cinema exhibitors and raise equity and debt to fund the rollout.

 

With current economic conditions, financing is an area that challenges all d-cinema deployers.

 

D-cinema deployment deals in the U.S. generally rely on a virtual print fee model to offset exhibitors' installation costs. Recent negotiations in the States between studios and exhibitors -- most notably the Digital Cinema Integration Partners made up of Regal, AMC and Cinemark USA -- have stalled due to financials.

 

The VPF model has been more challenging to implement oversees. Other than this new one from XDC, only one broadly available VPF deal is in place in Europe, through Arts Alliance Media.

 

Of the XDC agreements, the company's chief executive Serge Plasch said: "These milestone agreements offer European exhibitors a viable business model to convert their screens to digital cinema."

 

This is the first digital cinema deployment agreement for Warner Bros. Pictures International, said Veronika Kwan-Rubinek, president of international distribution for Warner Bros. Pictures.

 

XDC, a unit of EVS Broadcast Equipment, said there is a potential of 35,000 screens to digitize across Europe.

 

There are nearly 5,000 digital cinema screens now installed in the U.S., which has an estimated 39,000 screens in total.

 

XDC expects its infrastructure deployment to help it to develop its other activities: The design and sale of cinema servers and software applications, the installation and maintenance of complete digital cinema systems for exhibitors; and digital content processing and distribution services for movie distributors and advertising sales houses.

 

Leo Cendrowicz in Brussels contributed to this report.

Under ths Sea in IMAX 3D - Spring 2009

http://www.imax.com/underthesea/

 

Get ready to take a one-of-a-kind tropical plunge and come face-to-face with some of the most colorful and intriguing creatures of our oceans in stunning IMAX 3D! Under the Sea 3D will transport you to the exotic locations of Indonesia, Papua New Guinea and Australia’s Coral Sea to explore these animals in their native habitat, and witness the impact of global warming.              

 

                • Check out the Webisodes that take you behind the scenes on this far-flung film shoot          

                • Read director Howard Hall’s Travel Log for insight into the making of his newest IMAX 3D underwater film  

                • Learn more about these intriguing South Pacific destinations through the Location Profile    

                • View stunning imagery both above and below the surface in the photo Gallery         

                • Submit your OWN underwater photos on our Community page         

 

 

XDC announces studio backing for 8,000 digital screens plan

http://www.screendaily.com/ScreenDailyArticle.aspx?intStoryID=39146

 

Screen staff in London

23 May 2008 06:43

 

The rollout of digital cinema in Europe has taken a big step forward with news that digital cinema equipment and services company XDC has signed agreements with four studios for deployment of 8,000 digital screens.

 

The non-exclusive agreements with Warner Bros, Paramount, Twentieth Century Fox and Disney offer exhibitors across Europe an alternative to the single existing large-scale, studio-backed scheme from Arts Alliance Media.

 

Until now, Europe has been stuck in a rut with exhibitors mostly unwilling to sign up to a cost-sharing deal for installation with distributors and concerns over a lack of product.

 

Only one significant chain, France 's CGR, has so far signed up to Arts Alliance Media's virtual print fee (VPF) based model.

 

But and end to that deadlock with XDC and Arts Alliance Media now offering a real choice to exhibitors with the muscle of studio product behind them.

 

Leading D-cinema analyst, David Hancock of Screen Digest, said the XDC announcement was "very significant."

 

"The market needs some competition for exhibitors to see it as real. XDC has been around for a long time and now it has the credibility of studio product."

 

He suggested that the Arts Alliance Media alternative may in fact be enhanced by the XDC announcement because it will give them a choice.

 

"This is good news. They (Arts Alliance) needed a competitor to make their offer more credible."

 

XDC has a strong presence across Europe. It is, for example, the official partner of the Cannes Film Festival.

 

Chief executive Serge Plasch said the signing of content deals with studios would help it drive forward its plans.

 

"The support of Warners, Paramount, Fox and Disney is a key factor for XDC and will allow us to keep out momentum in Europe."

 

Agra gets its second wonder- a 6D theatre

http://in.news.yahoo.com/indiaabroad/20080523/r_t_ians_en_bwd/ten-agra-gets-its-second-wonder-a-6d-the-aaba444.html

 

Fri, May 23 08:50 PM

 

Agra, May 23(IANS) You feel your chair moving back and forth and left to right, smell scent, feel a cool breeze, a sudden water splash and also have goose pimples when you find yourself in the midst of bats and spider webs. This isn't a scary tale but India's first-of-its-kind six-dimensional theatre experience developed here.

 

Indian cinema chain Adlabs in association with Cinema Park Network Friday launched The Adlabs Cinema Park.

 

'This experience is very new to India. It is no longer about just hearing and watching a movie. With the launch of this, we have taken a step ahead,' Tushar Dhingra, chief operating officer of Adlabs Cinemas, said.

 

The centrepiece of this project is to provide tourists with a multi-sensory cinema where viewers not only can hear and watch a movie, but can also sense the motions, besides being a part of the proceedings of the film.

 

Ori Yardeni, CEO and founder of Cinema Park Network, explained: 'We have already set up multi-sensory experiences in other parts of the world, including Disney World in Florida, and now India is our first installation in Asia.'

 

'We have used smart motion seats with ticklers at the back and bottom, water splash and smell machines to provide a unique experience to tourists and locals here.'

 

The investment in this project has been three to four times of that required in a regular Cineplex.

 

A programme called 'India in Motion' - a 25-minute show where the viewers get to live and trace the epochal events in Indian history, is expected to attract a lot of tourists.

 

Viewers travel back in time to experience and learn about Mohenjodaro, the Maurya dynasty, Ashoka the Great, the Mughal invasion or the Mutiny of 1857, and other important places and events of relevance to the Indian history.

 

'This is edutainment - learning through entertainment,' said Yardeni.

 

Sanjam Chawla, a tour operator, told IANS: 'Agra is the most visited place in India with the maximum influx of tourists. Most tourists visit Agra, Jaipur and Delhi only. With this film, they would get a closer view of other exciting destinations in the country as well.'

 

'This is definitely an extra-unique activity and would attract tourists. Although Agra has the Taj Mahal, it still lacks infrastructure, this is a good way to move towards achieving it,' he added.

 

'The show tickets would cost $8 to $10 for tourists, Rs.100 for school children and Rs.150 to Rs.250 for local people here,' Dhingra told IANS.

 

Along with the pleasure of watching the movie, the viewers can also play an interactive quiz game on India.

 

According to Dhingra, the Adlabs Cinema considering setting up this project in other tourist destinations like Tirupati, Jaipur and Goa.

 

XDC announces studio backing for 8,000 digital screens plan

http://www.screendaily.com/ScreenDailyArticle.aspx?intStoryID=39146

 

Screen staff in London

 

23 May 2008 06:43

 

The rollout of digital cinema in Europe has taken a big step forward with news that digital cinema equipment and services company XDC has signed agreements with four studios for deployment of 8,000 digital screens.

 

The non-exclusive agreements with Warner Bros, Paramount, Twentieth Century Fox and Disney offer exhibitors across Europe an alternative to the single existing large-scale, studio-backed scheme from Arts Alliance Media.

 

Until now, Europe has been stuck in a rut with exhibitors mostly unwilling to sign up to a cost-sharing deal for installation with distributors and concerns over a lack of product.

 

Only one significant chain, France 's CGR, has so far signed up to Arts Alliance Media's virtual print fee (VPF) based model.

 

But and end to that deadlock with XDC and Arts Alliance Media now offering a real choice to exhibitors with the muscle of studio product behind them.

 

Leading D-cinema analyst, David Hancock of Screen Digest, said the XDC announcement was "very significant."

 

"The market needs some competition for exhibitors to see it as real. XDC has been around for a long time and now it has the credibility of studio product."

 

He suggested that the Arts Alliance Media alternative may in fact be enhanced by the XDC announcement because it will give them a choice.

 

"This is good news. They (Arts Alliance) needed a competitor to make their offer more credible."

 

XDC has a strong presence across Europe. It is, for example, the official partner of the Cannes Film Festival.

 

Chief executive Serge Plasch said the signing of content deals with studios would help it drive forward its plans.

 

"The support of Warners, Paramount, Fox and Disney is a key factor for XDC and will allow us to keep out momentum in Europe."

 

IMAX Sells $18 Million Worth Of Shares

http://www.digitalcinemainfo.com/IMAX_05_06_08.php

 

May 6, 2008

 

Source: The Canadian Press

 

IMAX Corp. has announced that the Douglas family, its largest shareholder, is adding to its stake by buying 2.7 million shares for $18 million in a private placement. As a result of the move, the Douglas family now owns 19.9 per cent of the company.

 

In addition, IMAX also said Wachovia Capital Finance Corp. has agreed to expand and ease the terms of its credit facility.

 

These transactions will help fund the roll-out of the IMAX digital projection system.

 

Press Release:

Imax Corp.said today that the Douglas family, its largest shareholder, is adding to its stake by buying 2.7 million shares for $18 million in a private placement.

 

The big-screen movie technology company also said Wachovia Capital Finance Corp. has agreed to expand and ease the terms of its credit facility.

 

The transactions will help fund this summer's roll-out of the Imax digital projection system, and Imax stock rose more than eight per cent on the news.

 

"The good news is that as a result of today's announcements, we do not believe we will need additional financing to fund our digital rollout under the current business model," stated Imax co-CEOs Richard Gelfond and Bradley Wechsler.

 

The Douglas family will own 19.9 per cent of the company after the latest purchase, priced at $6.60 per share. Imax stock had closed Monday at $6.76, with a 52-week TSX range between $7.99 and $3.89. It rose 56 cents to $7.32 Tuesday morning.

 

The amendment with Wachovia extends the loan facility to Oct. 31, 2010 and eliminates an operating-profit covenant.

 

"The amended terms of the line allow us to draw down approximately $24.4 million today, and we believe that as our borrowing base increases in accordance with the terms of the agreement we may be able to take down close to $30 million," stated Imax co-CEOs Richard Gelfond and Bradley Wechsler.

 

"Coupled with our cash on hand, we expect that these deals will ultimately provide us with access to roughly $55 million to $60 million in funding."

 

Meanwhile, the Douglas family has agreed to a five-year standstill period during which it will not increase its percentage ownership or engage in change-of-control transactions.

 

"The Douglas family has been an extremely supportive shareholder group, and we're pleased that they have recognized the potential in Imax and the opportunity to invest at this level at this time," said Gelfond and Wechsler.

 

They added that cinema operators have been "extremely enthusiastic" about the transition from Imax's bulky and complex wide-format film to digital technology, signing deals for 170 digital systems in the past two quarters.

 

CGR CINEMAS AND ARTS ALLIANCE MEDIA INSTALL THE FIRST ALL DIGITAL MULTIPLEX IN FRANCE AT LA ROCHELLE

http://www.digitalcinemainfo.com/artsalliancemedia_04_28_08.php

 

April 28, 2008

 

Source: Arts Alliance Media

 

Circuit George Raymond (CGR Cinémas), one of France’s largest cinema chains and Arts Alliance Media (AAM), Europe’s leading specialist in digital cinema technology, content and deployment have announced the installation of France’s first fully digital 12-plex cinema at La Rochelle. This is a significant milestone for the French motion picture industry and further proves the viability of the Virtual Print Fee (VPF) business model for Europe’s widespread transition to digital cinema.

 

100 CGR screens are scheduled for installation by July 2008, as part of the AAM and CGR exclusive agreement to digitally equip 100% of the circuit’s 400 screens. In addition to the 12-plex already installed in La Rochelle, installations will take place over the next 3 months at CGR’s sites in La Meziere, Villenave D’Ornon, Lattes, Torcy, Brignais, Blagnac, Lanester, Mantes La Jolie, Epinay, Niort and Colmar.

 

To date, a total of 19 screens have been equipped with DCI-compliant 2K digital projection systems within 8 different CGR multiplexes across France in the cities of La Rochelle, Blagnac, Brignais, La Meziere, Lattes, Niort, Villenave d’Ornon and Torcy. At the La Rochelle site – the first one to be fully equipped in digital - a one-month extensive test and analysis phase has now begun, which will allow CGR and AAM to assess network interactivity software and data reliability solutions. To enable a smooth transition to digital, the 35mm projection systems remain in place, so each screen can play 35mm or digital prints, as needed.

 

"We are very happy to see that La Rochelle is France’s first multiplex entirely converted to digital. This is the first step towards the total transition to digital of our screens. This will open new perspectives to our group in terms of 3D and alternative content, as well as faster and more flexible programming and increased efficiency. ” said Jocelyn Bouyssy, Chief Executive Officer, CGR Cinémas

 

Gwendal Auffret, AAM’s Managing Director of Digital Cinema said “La Rochelle is a benchmark for the digital cinema transition in France and in Europe. Thanks to CGR, the French cinema industry has now a great opportunity to witness and understand the operations of a fully digital cinema. We look forward to the next phase of our rollout with such a great innovative partner.”

 

Sébastien Bruel, CGR’s Technical Director said “We have worked closely with Alexandre Brouillat of AAM, and with CDS, our integrator partner, in order to design and install a technical infrastructure that supports and enhances our processes, from the delivery of content to the projection: it meets our highest expectations. This flagship installation will allow us to validate our network strategy, make sure our security requirements are met and set up our new operational processes before the next installations.”

 

CGR Cinémas is a leading and expanding cinema chain in France. The company is well known for the success of its multiplexes in many mid-size cities across the country, for the efficiency of its cost management and for its profitability. Jocelyn Bouyssy, Chief Executive Officer of CGR Cinémas, was voted “Person of the Year” by the French film industry trade paper, LE FILM FRANCAIS in December 2007.

 

AAM is the only integrator in Europe to have signed digital cinema deployment agreements with five Hollywood studios for the conversion of up to 7,000 screens over the next few years. The company maintains and operates the UK Film Council’s 240 screen Digital Screen Network, as well as digital cinema trials in the UK and Norway. AAM is in active negotiations for further digital cinema deployment agreements with other major distributors and exhibitors and announcements are expected shortly.

John Fithian enters digital fray - Jeffrey Katzenberg, exhibitors trade barbs

http://www.variety.com/article/VR1117984905.html?categoryId=13&cs=1

 

By PAMELA MCCLINTOCK

 

Countering remarks by DreamWorks Animation topper Jeffrey Katzenberg, National Assn. of Theater Owners prexy John Fithian said exhibs aren't to blame for holding up the transition to digital movie screens --some of the major studios are.

Fithian will address the thorny issue of digital conversion today when speaking at exhib confab ShowCanada in Banff, Alberta.

 

On Tuesday, DreamWorks Animation topper Jeffrey Katzenberg broke from his generally upbeat view on the digital transition in suggesting that the three largest U.S. theater chains -- Regal, AMC and Cinemark -- aren't moving fast enough, considering the plethora of digital 3-D projects set for release next year by Hollywood studios (Daily Variety, April 30).More than one option(Co) Daily Variety

Filmography, Year, Role

(Co) Daily Variety

 

Fithian countered that some of the studios can't agree on what they'll pay the top three circuits in virtual print fees and that circuits need to have those fees in place before they can make the costly investment.

 

He wouldn't name names, but industry insiders say that Disney, 20th Century Fox and Paramount are close to agreement with exhibs, while Warner Bros. is far behind. Universal and Sony are still in talks.

 

Katzenberg "suggested it is the cinema companies who are dragging their feet," Fithian said. "That is not the case," he added.

 

Fithian also noted that while Katzenberg has pointed the finger at exhibs, his longtime DreamWorks colleague Steven Spielberg seems to be lukewarm about the advent of d-cinema.

 

There was an outcry among theater owners earlier this year when Par suggested it wouldn't supply digital prints of Spielberg's "Indiana Jones and the Kingdom of the Crystal Skull," because Spielberg wanted the movie played only as film on 35mm screens. Filmmakers including Spielberg sometimes balk at having their movies shown in digital when they were shot on film.

 

Not providing a film like "Crystal Skull" on digital would slight theater owners who have made the conversion, according to exhibs. Theater owners have long argued that there's no reason to make the transition if the product isn't there.

 

Par changed its position and will be releasing digital prints of "Indiana Jones." Exhibs aren't entirely mollified, though, since digital prints will go only to those houses where all the screens are digital. If there's a mix of screens in a theater, that theater will get only a film print.

 

The "Indiana Jones" issue is only a side note to the much larger issue of how to hasten the rollout of more digital screens, a prerequisite for installing digital 3-D projection equipment.

 

Katzenberg has staked his company's future on digital 3-D, beginning with "Monsters vs. Aliens," which opens March 27. The year will also see will see a number of high-profile 3-D releases from other studios, culminating with James Cameron's "Avatar," from Fox, on Dec. 18.

 

As of now, there are fewer than 1,000 digital 3-D screens in the U.S. Studios are hoping there will be 4,000-5,000 by the end of 2009. Out of the country's 37,000 or so theater screens, roughly 5,000 have been converted to digital.

 

The top three circuits have been slow to make the transition --frustrating studios -- yet their entry into the digital arena is key if studios are to have enough screens to play their digital 3-D titles on. Digital Cinema Implementation Partners, a consortium formed by the three chains, is presently trying to secure a $1.1 billion line of credit to help with the conversion.

 

First, though, DCIP wants virtual print fee deals in place with the majors.

 

Many of the smaller chains have used third-party digital deployment company AccessIT to install their digital screens, with AccessIT securing virtual print fee deals with the studios. Studios don't necessarily want to strike the same terms with DCIP as it did with AccessIT given the changing economy and lowered digital equipment prices. AccessIT provides financing, administrative services and equipment.

ACCESSIT FORMALIZES AGREEMENT WITH LIONSGATE TO RECEIVE CONTENT AND VIRTUAL PRINT FEES THROUGH NOVEMBER 2017

http://investor.accessitx.com/releaseDetail.cfm?ReleaseID=309054

 

Long Time Software Division Customer to Extend Relationship

 

MORRISTOWN, N.J., May 08, 2008 (BUSINESS WIRE) -- Access Integrated Technologies, Inc. ("AccessIT") (NASDAQ:AIXD), the global leader in digital cinema, announced today that LIONSGATE(R) will provide movies to digital cinema equipped theatres in the Phase 1 digital cinema program and will pay virtual print fees (VPFs) under a long-term agreement similar to those signed by all the other major studios. Lionsgate is already a long-time customer of AccessIT's Software Division, employing its industry-leading Theatrical Distribution System (TDS) which enables theatre bookings for screens in the U.S. and Canada. AccessIT and Lionsgate have begun negotiations on a Phase 2 agreement.

 

Since October of 2006, Lionsgate has provided such movies as "The Forbidden Kingdom," "Rambo," "3:10 to Yuma," and the "Saw" franchise to AccessIT's Phase 1 network of exhibitors and paid VPFs. This agreement serves to formalize the distributor's intent to supply movies in the future, and to pay VPFs according to a set schedule.

 

"Having worked with AccessIT on both the software side and the digital cinema side, we are very pleased to formalize our commitment for their Phase 1 customers," said Steve Rothenberg, President of Domestic Distribution at Lionsgate. "Our experiences with them to date have been extremely positive and we are confident that their highly professional teams will continue to provide an excellent level of service. We look forward to finalizing our agreement with them for their Phase 2 deployment customers as well."

 

"Lionsgate has been a strong proponent of digital cinema having released 23 digital titles starting back in October, 2006, with 'Employee of the Month'," said Chuck Goldwater, President of AccessIT's Media Service Division. "With a full schedule of movies right up there with the other major studios we look forward to more digital releases from Lionsgate to continue to support exhibitors' digital cinema installations and the industry demand for more digital screens. We are proud to build upon our long relationship with Steve Rothenberg, Mike Polydoros and the entire Lionsgate team."

 

AccessIT's Digital Cinema division is the industry-leading deployment program for Digital Cinema that provides the funding, installation support and administration for the company's studio-supported Digital Cinema rollout plans. Its Phase 2 plan for up to an additional 10,000 screens will provide networked, turnkey, Digital Cinema systems in conformance with DCI specifications, including AccessIT's unique Library Management Server(R) and Theatre Command Center(R) software. The system will also include digital projectors and JPEG 2000 media servers from a variety of vendors whose equipment is designed to meet the DCI specifications as well as a demanding set of performance and reliability requirements AccessIT developed through its success with the Phase 1 plan. To date, AccessIT has contracted for and completed the rollout of more than 3,700 systems in forty-one states with exhibitors including Atlas Theatres, Allen Theatres, Carmike Cinemas, Celebration! Cinema, Cinema West, Cinetopia, Emagine, Galaxy Cinema, Marquee Cinemas, MJR Theatres, Neighborhood Cinema Group, Rave Motion Picture Theatres, Showplace Cinemas, UltraStar, and AccessIT's own Pavilion Digital Showcase Theatre.

 

Access Integrated Technologies, Inc. (AccessIT) is the global leader in providing integrated solutions for digital cinema. The Company's ground-breaking digital cinema networked services along with its Library Management Server(R) and Theatre Command Center(R) have enabled theatres across the United States to play more than seven million digital showings of Hollywood features to date. AccessIT's 24/7 satellite operations delivers feature movies, alternative content advertising, and pre-show entertainment, including live 2-D and 3-D events through its CineLive(R) satellite network, expanding box office sales and developing new ways to attract incremental revenues. Through its alternative content distribution division, The Bigger Picture, AccessIT offers channels of programming including Opera, Kidtoons, Faith Based, Concerts, Sports and Anime. Access Integrated Technologies(R) and AccessIT(TM) are trademarks of Access Integrated Technologies, Inc. For more information on AccessIT, visit www.accessitx.com. (AIXD-G)

 

ABOUT LIONSGATE

 

Lionsgate is the leading independent filmed entertainment studio, winning the 2005 Best Picture Academy Award(R) for CRASH, and the Company is a premier producer and distributor of motion pictures, television programming, home entertainment, family entertainment and video-on-demand content. Its prestigious and prolific library of nearly 12,000 motion picture titles and television episodes is a valuable source of recurring revenue and a foundation for the growth of the Company's core businesses. The Lionsgate brand is synonymous with original, daring, quality entertainment in markets around the globe.

 

Considering the Future of 3D

http://www.uemedia.net/CPC/digitalcinemamag/articles/article_17029.shtml

 

By Joy Zaccaria

 

May 20, 2008, 09:25

 

Bruce K. Long is a 3D enthusiast. Earlier this year he was appointed CEO of Iconix Video, a camera manufacturer and 3D integrated service provider that develops point of view (POV) cameras such as the new HD-RH1F camera, the Studio2K and remote control units that represent an assortment of 3D solutions. True to his roots as a filmmaker with a background in production and post, he is poised to bring 3D technology to mainstream films in his new role.

 

Long’s journey to Iconix included a stint as president and COO of National Lampoon, where he oversaw production, distribution and network operations. Prior to that, he served as executive vice president of strategic planning and business development at Technicolor Creative Services.

 

Videography: Do you see 3D technology replacing the way we watch movies now?

 

Long: I’m one of those guys who has been wild-eyed since he first saw 3D and the potential for the 3D viewing experience. It’s possible that soon, when home video begins to embrace stereoscopic playback, all motion pictures are going to transition to 3D. That doesn’t mean that I want all movies to be like an amusement park experience, where they’re throwing a spear through the camera, but I believe that everything from A Room with a View to Animal House to Beowulf deserves to be experienced in 3D.

 

There’s a whole genre of independent movies and traditional non-amusement park-style experiences that would be made even more powerful by the immersive elements of 3D. I’d love to see all movies go 3D eventually.

 

How does your company bridge the gap to make 3D accessible for filmmakers?

 

We’re trying to deliver rigs and 3D camera setups that are less expensive. The 2K Iconix camera costs around $16,000, and it’s competing in the marketplace with cameras 10 times that price. We’re trying to allow the rental companies to deploy with a lower cost of entry and, therefore, facilitate production overall.

 

The second thing we’re doing is really practical. We are getting filmmakers comfortable on set with 3D. We’re working closely with great 3D companies like 3ality and Paradise. We provide the ITs who are trained to make sure our gear fits with their needs very carefully and very specifically.

 

I’m excited by 3D and there’s the buzz around 3D, but the business model still needs to be figured out. We take that kind of responsibility seriously.

 

How do you go from being a camera company to an integrated 3D service provider?

 

We have a tremendous beachhead in the Iconix camera. But the industry did not have an overall, end-to-end solution for stereoscopic 3D. We set out in October to expand the company from the cameras to the integrated solution approach. That process has involved forming strategic partnerships with various companies.

 

At NAB, Iconix showed an end-to-end camera-to-postproduction stereo 3D solution. The initiative involved making sure our products could do stereo storage, stereo playback, stereo conform, color and title. In July, we’re offering that solution in 2K. It’s a big step forward for us.

 

What are the challenges for 3D theatrical release?

 

The challenges today for stereoscopic are both in distribution and production. We’re dealing with the rollout of stereoscopic infrastructure in the theaters and in home video.

 

The first challenge is establishing theaters with digital cinema capabilities and, therefore, stereoscopic playback capabilities. That seems to be evolving pretty quickly, but it's one of the big hurdles still.

 

The second hurdle for us is helping Hollywood transition to 3D production. Our goal is to help filmmakers produce 3D for 10 or 15 percent more than they normally would in 2D production--as opposed to 30 or 40 percent more, which is where the market appears to be right now.

 

As a filmmaker myself and someone who understands the challenges that happen on set, the third hurdle is to help mainstream filmmakers transition to 3D stereoscopic production and the workflow involved there. We are mapping out a workflow for stereoscopic 3D that is not so different from 2D that it becomes cumbersome. That means supporting folks on set who are doing their first 3D movie.

Blu-ray Isn't Getting Much Traction - Sony won the battle to be the standard for HD-DVD. Can it persuade strapped consumers to buy in?

Media May 8, 2008, 5:00PM EST text size: TT

 

by Tom Lowry and Ronald Grover

 

In January, Sony (SNE) and its allies won a big victory. Blu-ray, Sony's version of a new generation of high-definition DVD players and discs, signed up enough studios to knock out Toshiba's format after a six-year tussle. This was considered a big deal because sales of regular DVDs have been slowing of late. The studios and hardware makers needed something new to get consumers jazzed—in this case, technology that delivers crisper video and can hold many more bonus features. So all concerned (except Team Toshiba, of course) breathed a sigh of relief when a potentially ruinous format war came to a sudden halt.

 

Shame about the timing. New technologies often take a while to get established, and Blu-ray is fighting for acceptance at the very moment that cash-strapped consumers are pulling back. Meanwhile, Apple (AAPL), Netflix (NFLX), and Amazon.com (AMZN) are launching downloading and other services that could make Blu-ray obsolete before it has a chance to get traction. "We see Blu-ray's window of opportunity closing very quickly," says Jagdish Rebello, a director and principal analyst of iSuppli, a research firm. "The question is: Does Blu-ray really matter?"

 

It's too early to declare Blu-ray a flop. While research firm NPD Group reported a 40% sales drop in January, Sony, studios, and retailers suggest that a scarcity of players in stores is to blame. They say that hardware makers are still gearing up to produce Blu-ray machines in the wake of the format war and point to a 2% uptick in February as more players became available. Andrew J. House, Sony's chief marketing officer, says the company's $399 players are selling well. And Lions Gate Entertainment (LGF) CEO Jon Feltheimer says the new format already accounts for 7% of DVD sales for some of the studio's films, including 3:10 to Yuma and War. "This is just the tip of the iceberg," he says. "People want the better picture."

 

Still, an April report from Sanford C. Bernstein & Co. predicts that sales of Blu-ray discs will add just one percentage point of growth to the DVD market this year. One of the biggest hurdles is price. The discs cost on average $11 more than regular DVDs. And the players themselves run about $400 vs. $60 for a standard machine. That's a lot to ask consumers to pay when they are cutting back on discretionary spending. Plus, Sony executives have said that prices likely won't fall below $200 until the end of next year—at the earliest.

 

Another thing: Blu-ray is an iteration of an existing technology. It does not offer the kind of leap that DVDs represented over VHS tape. Even if Joe or Jane Consumer has an extra $400 to spend upgrading their home entertainment system, chances are they will junk the bedroom TV for a flat-panel one. Skeptics also say only certain movies look appreciably better on Blu-ray—mainly big action flicks.

 

One doubter is Michael Nathanson, who follows the entertainment industry at Bernstein. He says few people will bother to upgrade because the "higher video resolution does not materially improve the viewing experience for many comedies, dramas, or family titles." That may explain why Lions Gate is having luck with its action films.

 

Hollywood has good reason to push Blu-ray hard. The discs cost $4 to $5 to make and wholesale for about $17—nice margins. Movies delivered over cable or online are a lot less lucrative because generally they're rented; the studios typically get 60% of $4.99 or so.

 

The Blu-ray camp plans a mid-year marketing blitz. And the studios are pinning their hopes on a new version of the Blu-ray technology called Profile 2.0. It will allow consumers to use their players to connect to the Web and partake of movie-related bonus feartures. Fox (NWS) is preparing to deploy a video game that viewers can play along with its Alien vs. Predator flick. Industry insiders say Disney (DIS) plans a range of interactive bells and whistles tied to its animated films that may include games and social networking.

 

The studios also aim to target people who own Sony's PlayStation 3 game player, which can play Blu-ray discs. Thirteen million people own PS3s worldwide. But Nathanson says so far PS3 owners are buying one to three Blu-ray movies a year on average, compared to the eight titles bought by those with regular Blu-ray players.

 

Hollywood is clearly hedging its bets. Traditionally, the studios have forced cable companies to wait several months to show a movie after it's released on DVD. On May 1 they agreed to let Apple sell movies online the same day DVDs arrive in stores.

 

With Cliff Edwards

 

Lowry is a senior writer for BusinessWeek in New York. Grover is Los Angeles bureau chief for BusinessWeek.

 

Sony Pictures to launch digital cinema unit

http://www.reuters.com/article/filmNews/idUSN2142232620080522

 

Wed May 21, 2008 8:03pm EDT

By Steve Gorman

 

LOS ANGELES (Reuters) - Sony Pictures studio unveiled plans on Wednesday for a new digital cinema unit to bring filmed presentations of Broadway shows, rock concerts and sports events to specially equipped movie theaters nationwide.

 

The new venture, dubbed the Hot Ticket, will launch in August with a presentation of the final staging of the music and dance extravaganza "Delirium" from Cirque du Soleil, which closed its worldwide tour in London in April.

 

In September, the final performance in the 12-year Broadway run of the hit musical "Rent" will be presented.

 

"Our mandate will be to identify the one-of-a-kind, and sold-out events that people around the country most want to see ... and present them to audiences everywhere," Sony distribution president Rory Bruer said in a statement.

 

Hot Ticket presentations will be shown in high-definition format for limited engagements, starting out on roughly 400 to 500 screens in theaters across the country, with audiences paying roughly $20 a seat, Bruer said.

 

The new Sony business is capitalizing on a sweeping upgrade of movie houses being undertaken by major theater chains and studios to bring state-of-the-art digital projection technology to thousands more screens in the United States and Canada.

 

Besides lowering distribution costs for studios, digital technology is seen as paving the way for the introduction of more "alternative content" to theaters, helping exhibitors bolster sagging movie admissions, especially on weekdays.

 

Sony Corp is hardly alone in bringing such non-movie entertainment to a theater near you, but it is believed to be the first major studio to create a separate unit devoted to such content.

 

"We're excited to be on the ground of floor of what is going to be a new business for movie theaters," Bruer told Reuters.

 

About 5,000 of nearly 39,000 U.S. cinema screens are already digitally equipped, and that number is expected to climb steadily, said John Fithian, president of the National Association of Theatre Owners.

 

He called Sony's move a "confirmation that everyone in the movie industry envisions the cinema as a growing entertainment destination for a variety of products."

 

"It's significant that Sony recognizes the potential for alternative content in cinemas by creating a separate unit," he said.

 

The Sony initiative builds on a trend that has been evolving in the movie industry for some time.

 

Concert films have long been popular offerings at the multiplex, and the Walt Disney Co. scored a box-office bonanza with its recent 3-D release "Hannah Montana & Miley Cyrus: Best of Both Worlds Concert."

 

Landmark Theatres screened opera star Placido Domingo's 40th anniversary concert in 22 playhouses last month, and several theater chains have teamed up to show auto racing, soccer matches and even Tour de France competition.

 

National Amusements, the controlling shareholder in Viacom Inc., has been screening high-def broadcasts of select Boston Red Sox baseball games in its Showcase Cinemas in New England since 2003.

 

Digital Release Update - May 2 2008

http://digitalcinemareport.com/digitalrelease_126.html

 

Movie	Distributor	Release Plans
Week of May 2 – May 8
Iron Man	Paramount	Wide
Made of Honor	Sony Pictures	Wide
Then She Found Me	ThinkFilm	Expansion
Son of Rambow	Paramount Vantage	Limited
Meet Bill	First Look	Wide
Week of May 9 – May 15
Speed Racer	Warner Bros.	Wide
What Happens in Vegas	20th Century Fox	Wide
Then She Found Me	ThinkFilm	Expansion

 

A 3D Journey

http://digitalcinemareport.com/thebigpicture_126.html

 

By Nick Dager

May 1, 2008 | Issue #126

 

One of the most highly anticipated movies in years is this summer’s Journey to the Center of the Earth 3D.  The movie, from Walden Media, is the first live-action digitally captured, wide release 3D-feature film in history. I recently interviewed Cary Granat, Walden’s co-CEO about the making  of the movie.

 

Above photo: Left to right, Anita Briem, director Erik Brevig and Brendan Fraser discuss a scene on the set of New Line Cinema’s release, Journey to the Center of the Earth 3D. Photo credit: Sebastian Raymond/New Line Cinema. ©2008 New Line Cinema

 

With such celebrated family films as The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, Bridge to Terabithia and Charlotte’s Web, Walden Media has adopted the latest filmmaking technologies to push the frontiers of the movie-going experience for audiences of all ages. Journey to the Center of the Earth 3D, an action-adventure film was directed by Academy Award-winning visual effects specialist Eric Brevig and stars Brendan Fraser.

 

Almost from the beginning of the project, Granat says, the challenges of making a major movie in digital 3D became clear. Because Journey 3D is platform-agnostic, it can be distributed in several different platforms: Real-D, Dolby 3D, Nu-Vision, dual projector systems and 35mm film.  Each type of venue will require a slightly different “print.”

 

To master the movie, Walden Media built its own digital intermediate suite because it couldn’t find find a facility that could handle 3D-color correction on both eyes simultaneously.  Walden assembled a team of freelance data and color experts and set up a high-powered DI theatre in order to use Scratch software, which was untested and not in mainstream use.  The theatre is now fully equipped to build and color-grade 3D digital cinema in a single pass.  After trial and error, the team was able to maintain the same quality level in mastering that the director had painstakingly achieved during production.  Walden Media now uses Scratch and its new DI suite for all of its productions.  The software has increased the productivity and creative potential throughout the editing process.

 

I spoke with Granat about the challenges.

 

Digital Cinema Report: How did Journey to the Center of the Earth lend itself to 3D?

 

Cary Granat: Journey was one of the first projects put into development at Walden in 2001. The initial idea was to tell the story as if Journey to the Center of the Earth wasn't fiction, but instead a real journey that Jules Verne had taken, or possibly one that a real explorer named Arne Saknumsen had taken that Verne had journaled. Once we hit upon the key hook that the original book was, in fact, based in reality then we knew we had to make it 3D. We wanted to throw the audience into the adventure in a way that was fully immersive and had never been seen before on screen. We wanted 3D to help us turn this adventure to the center of the Earth into a real non-stop ride, not a cheap thrill.

 

DCR: Was it always your plan to shoot the movie in 3D?

 

CG: Yes. In fact, every set piece in the film was conceived as a 3D experience from the beginning. We created a 3D map of the journey itself and then used it as a basis for storyboards, the script, and pre-visualizations of the sequences. The writing process was more difficult because we needed to educate the creatives to re-train their thought process in creating scenes and ideas that would play out in 3D.

 

DCR: What percentage of the movie was shot in 3D?

 

CG: 100 percent.

 

DCR: What was your budget? How much did shooting and posting in 3D add to the overall budget?

 

CG: We don’t disclose production budgets, but shooting and posting in 3D added $1-2 million in production, including the camera package, lighting, bluescreen in 3D, and additional camera crews. Beyond research and development, it added about 30-35 percent to the recurring weekly costs in the post-production budget. Our digital intermediate budget doubled, and our anaglyphic lab costs were completely outside the norm.

 

DCR: How long did shooting take?

 

CG: We shot in 55 days, which was approximately five to 10 percent longer than normal.

 

DCR: What were the biggest surprises for you during the shoot?

 

CG: We faced new surprises every day. Actors had to learn different ways to stand on their mark. The director had to learn to watch his footage on a brand new 3D monitor and to trust visuals that weren't exactly as they were going to be in post-production. Everything had a second layer of "trust" and "interpretation" over it. Thus, the biggest surprise was how well everything came together despite working with completely new technology.

 

We also developed a system to watch the dailies in 3D. With much help from all of our production and post technicians, we were able to set up a screening room just off stage. And we were able to literally take the 4:2:2 tapes out of the recording decks and to the screening room to view dailies from the morning shoot at lunch and then footage from the remainder of the day after we wrapped. The room itself was equipped with two 2K projectors and a 30-feet silver screen. This made it possible for all department heads to quality check, critique and discover any issues (ghosting, vertical/horizontal misalignment, etc.) with the 3D shooting, so that they could correct it immediately. This was an invaluable tool for the filmmakers so that we didn't have any surprises in the post-production process.

 

DCR: Please describe the post-production facility that you built for Journey.

 

CG: We set up four Scratch workstations in the middle of a large, old screening room in Hollywood. We used a double projection system with NEC 2K digital cinema machines and a 25-foot silver screen. We hired our own team: a digital mastering supervisor, a data wrangler, a compositor and a colorist. We then loaded our right eye and left eye HD masters onto a massive hard disk array called Facilis Terablock. We did all of our own VFX reviews and compiled and color-corrected the entire film. It was a necessity because no vendor could provide mastering and color in stereo.

 

The facility turned out to be a great luxury and allowed us to spend great lengths of time there as opposed to a place that charged by the hour. What at first seemed like a costly and complicated technological trap turned out to be an elegant solution. It was a pleasure for the director Eric Brevig, and it allowed the creative team to visit for repeated high-quality 3D screenings and provide ongoing notes.

 

DCR: Talk about the actual process of editing Journey.

 

CG: The editing process was fairly standard and was completed on Avid Meridians. We cut in 2D and conformed HD for our 3D screenings. Most of the time it was a small crew. Editorially, the film is straightforward and linear – it is an exciting narrative journey after all – but we did continually watch it in 3D and maximize the 3D moments as we went along.

 

DCR: How long did/will post take?

 

CG: The length of post was about 15 months.

 

DCR: You've described the movie as "platform agnostic" meaning it can be distributed in several different platforms including Real-D, Dolby 3D, Nu-Vision, dual projector systems and 35mm film Please discuss how you were able to achieve that.

 

CG: We mastered the movie as DPX files—two files, right eye and left eye, for each frame. The files were then processed for the different server configurations necessary for each of the 3D digital platforms. For example, Real-D required a special ghostbusting pass. The difference between each of the files was minimal, but we still spent considerable time loading drives containing the proper formats and then quality checking each pass.

 

In the case of 35mm film, we painstakingly tested all available anaglyphic and non-anaglyphic film solutions. After many months, we picked the best of the bunch—a [trademarked] process called Trioscopics, which we are debuting.

 

DCR: What technologies, if any, would make posting 3D easier?

 

CG: It would have been easier to view cuts in 3D immediately after they’re made, without using a traditional HD conform. Now that we have Scratch working, we would insist on using this powerful tool for 3D screenings right out of editorial. Instant 3D Avid cutting is theoretically possible, but doesn’t make sense on a film where every other shot is a VFX shot. Many VFX shots are temporarily composited in the Avid. Having to do that manually for two eyes slows down the editor too much. Scratch, however, will speed up our 3D screening process greatly. Next time we do this, Scratch will be able to facilitate VFX review in context. After daily prep by the VFX editor, final effects shots can be seen in and out of their place in a scene with the touch of a button.

 

DCR: There is currently a debate between those who believe that 3D is a passing fad yet again and those who believe that digital 3D has staying power this time. Admittedly Journey hasn't been released yet so you can't speak from the perspective of knowing the financial return. But in other ways, in particular creative, as a filmmaker will you work in 3D again?

 

CG: People are always looking for new forms of entertainment and new viewing experiences. We’re finally at the point where exhibitors recognize the box office impact of 3D films and the financial imperative of quickly committing to the digital 3D process. Exhibitors saw the value of 3D with the success of Hannah Montana ($65-plus million U.S. gross to date). For exhibitors, 3D is an important weapon in their battle against increasingly sophisticated home entertainment systems and Internet movie downloads.

 

Creatively, we are always striving to adopt the latest filmmaking technologies to broaden the frontiers of the movie-going experience for audiences of all ages, while displaying fiscal discipline in our approach. While we are actively considering future projects in 3D, there are no immediate plans in the works for another 3D feature film.