3D Brightness

 

http://today3d.blogspot.com/

Why is this important? The way the eye perceives color changes rapidly as a function of light level at these very low luminance levels. 14 Ft. Lamberts was chosen as the standard for 2D cinema for two reasons. First, it is well within the range of film projectors with reasonable sized lamps. Second, and perhaps more importantly, at this low light level, the eye does not normally perceive the flicker produced by the 48 Hz field rate of double-flashed film. While digital cinema is more commonly triple flashed to 72 Hz, eliminating flicker as a problem, it continues to use the 14 Ft. Lambert standard. This allows digital and film theaters to have a similar "look and feel," an important property to the movie industry.

3D digital cinema projectors are very inefficient compared to the same projector showing 2D content, 14% efficiency is a typical value. By using a larger lamp and a high gain screen, the current generation of 3D digital cinema projectors can make about 4.5 Ft. Lamberts on the screen but not 14 Ft. Lamberts. In general, 3D presentations have been in the smaller auditoriums of a multiplex, since it is easier to achieve 4.5 Ft. Lamberts on a small screen than a large screen.

Since human perception of color is different at 4.5 and 14 Ft. Lamberts, studios need to color correct their 3D movies twice: once for 2D screens and once for 3D screens. This is an expensive process and studios would like to eliminate the second color correction.

There are two approaches to doing this. First, they could color correct for some intermediate light level, say 6 or 10 Ft. Lamberts, and use that color correction at both the higher 2D and the lower 3D light levels. The ISDCF demo showed that this might actually be an acceptable path.

The other approach would be to increase the light level on 3D cinema screens to a value closer to the 2D light level. From a studio's point of view, this would be ideal: only one master would be required and the 3D experience would then match the 2D experience, with the addition of depth.

Theater owners would not like this, however. Current digital cinema projectors strain to achieve 4.5 Ft. Lamberts, especially on larger screens. Lamps must be run at maximum power, leading to high electric bills and short lamp life. High-gain screens help but there is an upper limit to acceptable gain. Going to a high enough gain screen to achieve 14 Ft. Lamberts in 3D means that only the seats on the theater centerline will get an acceptable image. When brighter 3D projectors are available, theater owners want to put them into larger auditoriums with more seats, not make brighter images on the same screens.

Some famous large-screen theaters are embracing projector technology that will allow 3D material to be shown on their large screens. For example, NEC announced yesterday that a single NC2500S-A projector will be used in Clearview's 1,169 seat Ziegfeld theater in New York City to produce 3D on the Ziegfeld's 15.8M (522) screen. This tops the normal 12M upper limit on screen size for a single projector.

This higher throughput of the NC2500S-A is enabled by the higher bandwidth electronics driving the DLP imagers. In the past, bandwidth issues limited DLP cinema projectors to using a 1628 x 880 subset of the 2K imager. The higher-bandwidth electronics allow use of 1998 x 1080 pixels, the same as is normally used in 2D projection. Being able to illuminate this larger image area leads to about a 30% increase in light output compared to previous 3D single projector installations.

Another famous theater, the 1300 seat Empire Theater in London, will be using a dual-projector 3D installation from Dolby to produce an image on its 20M (662) screen. This setup consists of two Barco DP-3000 DLP cinema projectors. Passive color filters are used both at the projectors and on the audience's glasses.

Expanded versions of the Ziegfeld and Empire theater stories will be published in the upcoming issue of LDR, as will other details that emerge on high-brightness 3D cinema projection

NEC Unveils New Ultra Bright NC2500S-A Projector

http://www.digitalcinemainfo.com/necdigitalcinema_05_26_09.php

May 26, 2009

Source: NEC

Ziegfeld Theatre Among First of NEC Customers to Upgrade

NEC Corporation of America, a premier provider of IT, network and identity management solutions, today unveiled the new NEC NC2500S-A digital cinema projector. As Hollywood studios begin requiring a higher level of brightness for 3D movie releases, NEC is the only provider to offer all pre-existing customers this new feature in their current models with a simple upgrade. The world-renowned Ziegfeld Theatre will be among the first of NEC’s customers to embrace these new projectors.

The NEC NC2500S-A’s new technical enhancement allows 3D content to utilize the full 2K resolution of the 1.2” DMD from Texas Instruments using triple flash technology for smooth motion. With an increase in resolution and brightness of up to 33 percent, compared to previous generations, the boost in performance means a greater viewing experience for theatergoers.

"We are pleased that Clearview's legendary Ziegfeld Theatre will be one of the first theatres
to install NEC's new digital cinema projectors-which will debut in time for the opening of Disney's latest 3D release, Up," said Doug Oines, senior vice president and general manager for Clearview Cinemas.
"Clearview is committed to providing moviegoers with the best viewing experience and the stunning image quality produced by NEC's projectors is another way for us to do just that."

The exhibitors can now display content on larger screens to bigger audiences than ever before. Current NEC DLP cinema projector customers will be able to make this upgrade easily and in the field. NEC is offering this service to customers through both NEC factory engineers or through factory training provided to the exhibitor and independent service engineers, allowing for a flexible transition to the new NEC NC2500S-A projector. All digital cinema 3D technologies will benefit from this upgrade.

“NEC continues to push the limits of its digital cinema technology with the continued promise to provide theater owners and their patrons with the very best on-screen images,” said Jim Reisteter, general manager, Digital Cinema Division, NEC Corporation of America. “Placing the first production models in one of the most prestigious screening theatres in the country was a given for us, and we are so pleased with the reaction from their senior executives and are excited to bring theater goers an even better viewing experience.“

The NEC NC2500S-A projector is available immediately for upgrade or purchase.

 

Ballantyne Expands Cinema Screen Systems Manufacturing Capabilities to Meet Continued Strong Industry Demand

http://www.digitalcinemainfo.com/ballantyne_05_26_09.php

May 26, 2009

Source: Ballantyne

- Investing over U.S. $600,000 to Expand Capacity and Enhance Product Quality -

- Specialty "Silver" Screens For 3-D Cinema are Focus of Expansion Efforts -

Ballantyne of Omaha, a provider of cinema equipment and services, has outlined investments it is making to expand its cinema screen manufacturing capacity at its Strong/MDI Screen Systems, Inc. subsidiary, based in Joliette, Quebec, Canada.

The expansion effort, which began in the latter half of 2008 and will continue through 2009, is focused on expanding plant capacity and productivity, as well as improving production methods to further enhance screen quality. With the conclusion of the plant expansion program, Strong/MDI expects it will have tripled its production capacity.

Chris D. Stark, Vice President of Strong/MDI, commented, "With the rapid growth in 3-D and large-format cinema programming, we have been experiencing a substantial increase in demand for the specialty screens these formats require. With over 30 years in the cinema screen business, Strong/MDI has developed a state-of-the-art, innovative line of products that are well respected within the cinema industry. To remain at the cutting edge of technology, quality and service to meet the demands of digital cinema, we have been making investments in personnel, facilities and equipment. These investments should position us well to maintain our leadership position in the anticipated growth in our industry."

Since its purchase in October 2007, the Strong/MDI facility has undergone a major upgrade program to better support a variety of cinema screen production activities including specialty "silver" and large-format screens which are experiencing strong industry demand. The plant is currently in the final stages of implementing a U.S. $600,000 capital improvement project to include the addition of perforating equipment, PVC welders and enhanced painting technology. In addition, the plant is adding to its humidity and temperature control capabilities to provide unparalleled quality control tied to its manufacturing process. Strong/MDI has also substantially increased its painting capacity in the past year and these final enhancements, coupled with staff additions, will further increase overall painting capacity.

 

Imax responds to screen size critics

http://www.variety.com/article/VR1118004103.html?categoryid=13&cs=1&nid=2562

 

Rising profits met with customer backlash

 

By DAVID S. COHEN

Imax's slogan used to be "Think big," but now some of its customers complain they're being told to read the fine print.

The largescreen cinema exhib, which is usually busy reporting increasingly higher percentages of theatrical gross coming from Imax screens, finds itself doing damage control following a rare moviegoers' revolt.

In the midst of an expansion that has made Imax an important premium venue -- in the first two weeks of "Star Trek," it claimed more than $22 million in gross on less than 2% of screens -- the company that built its reputation as the ultimate way to see a movie is being accused of failing to deliver on its own promises.

The Toronto-based company was called out first by no less than Roger Ebert and then by bloggers for compromising quality in its expansion. Actor-comedian Aziz Ansari ranted about the topic; LF Examiner, an online trade publication for the large-format exhibition industry, accused Imax flat-out of lying. A website, Liemax.com, has sprung up to identify which screens are "real Imax" and which are "fake Imax."

Suddenly the company is having to justify the $5 premium on Imax tickets to customers who see the new smaller screens and say, "That's not Imax."

That has created a PR headache for Imax execs, who were caught offguard by the issue. Imax CEO Rich Gelfond says their advance market research said only 2% of customers felt the new Imax screens weren't a comparable experience to the old.

"To some degree this is a product of our success," Gelfond tells Variety, "because as we attract more customers that other 2% is more and more people.

"We are going to do something (about the complaints). We hear the people."

But as yet he isn't sure what. He says they're not yet sure what portion of their customers are actually unhappy. They're planning a further customer survey and will decide what to do after they see the results.

In the meantime, the issue isn't likely to go away on its own.

Imax plans to expand to 400 U.S. screens by 2010, mostly by moving into preexisting multiplexes. But unlike the giant screens seen in museums and specially built commercial venues such as Universal Citywalk, the newer installations use a 1.9:1 aspect ratio instead of the 1.43:1 aspect ratio of the old Imax screens and a pair of 2K digital projectors instead of a super-high-resolution 15/70 film print, which brings the cost of Imax within reach of many more theaters.

The dispute largely comes down to different definitions of Imax. The company defines its experience with theater geometry, picture brightness, sound quality and other technical arcana, which together are an upgrade over normal theaters. The unhappy fans want large-format film projected on very tall screens -- they're still thinking big.

The Australian Imax licensee, which operates only giant screens, has complained that the company was advertising the new multiplex screens also with the Imax name, and now worries about a threatened customer boycott.

"Why are they selling it as a giant screen when it's not?" asked Mark Bretherton, CEO of Imax Sydney.

Don't look for Imax to back down on its expansion, though -- it's too important to the future of the company. If limited to the 75-foot-tall special venue screens of the past, they argue, they'd be back in the "bears, whales and seals" pic business, where the company began.

Maybe they can take a cue from Coca-Cola, and dub the old screens Imax Classic. That is, if anyone would buy New Imax.

 

Screenvision and National CineMedia In Merger Talks

http://celluloidjunkie.com/2009/05/26/screenvision-and-national-cinemedia-in-merger-talks/

 

Posted by J. Sperling Reich | May 26, 2009 11:02 pm

Less than a week after denying bankruptcy rumors that caused the stock price of French conglomerate Thomson SA to plummet 15%, the company has moved aggressively to sell off its cinema advertising unit Screenvision.  Industry chatter that the Thomson subsidiary has entered talks to merge with its chief competitor, National CineMedia (NCM), may turn out to be more than just rumor and speculation.  That is if you believe USA Today, which published a story about the potential merger on Monday.

A merger between Screenvision and NCM seems unimaginable, if not impossible, given the two firms majority share of the North American cinema advertising business.  Surely there will be some regulatory group that will object to having only one company control most of the profitable advertising placement in the country's leading movie theatres.  This issue didn't escape USA Today either who quoted Lazard Capital Markets Analyst Barton Crockett as saying:

"I'm not sure that (a combination) is possible from an antitrust perspective.  It would affect some advertisers, studios and independent theater chains that like to play those two (companies) against each other."

Neither Screenvision nor NCM would confirm they were speaking to one another beyond a generic non-committal statement from NCM's chief marketing officer, Cliff Marks:

"We're interested in Screenvision as we'd be in any media company that would make sense for our shareholders."

One way for the two companies to overcome any regulatory objection to their merger would be to take the tact that U.S. satellite radio companies XM and Sirius took during their successful bid to merge; point to parallel competition.  Both Screenvision and NCM sell advertising in a market suffering from media clutter that offers advertisers a choice of print, outdoor, radio and television campaigns.  However, unlike satellite radio, where if a potential customer does not want to pay Sirius XM's subscription fee they can simply turn on traditional terrestrial radio, motion picture exhibitors would have little choice when it comes to running ads in their theatres other than signing a deal with a combined Screenvision/NCM.

In a soft ad market that has seen print and television networks ad revenues decline, cinema advertising is one of few sectors that has performed rather well, increasing 56% since 2004 to bring in USD $658 million last year.  Indeed, Thomson probably would hold on to Screenvision if they weren't so hard up for cash to refinance some of the EUR €2.9 billion debt its been carrying.

UBS has been tasked with selling Screenvision which according to Matthew Kearney, the ad company's CEO, should occur before the end of the year.

 

Cinepolis set to enter the Indian exhibition market

http://www.screendaily.com/5001774.article

25 May, 2009 | By Udita Jhunjhunwala

Mexico-based movie theatre circuit Cinepolis is set to become the first international exhibitor to enter the Indian market independently.

The company plans to open approximately 500 screens over the next seven years through wholly-owned subsidiary Cinepolis India.

So far Cinepolis has identified 110 screens across eight cities with operations expected to start in the latter half of this year. The strategy is to build megaplex facilities with double-digit numbers of screens per site at most of the locations.

“We have made a substantial commitment to India and are excited at the prospects of being in a country which is the highest producer and consumer of filmed entertainment. We envision ourselves to be present in India for the long-term and for India to become our largest international expansion project,” said Javier Sotomayor, Cinepolis strategy head.

Currently operating more than 2,000 screens in six countries, Cinepolis claims to be the fifth largest theatre circuit in the world. In Mexico, it has a 46% share of screens and 56% share of the box office.

The 38 year-old company pioneered the concept of the luxury cinema brand and introduced multiplexes and megaplexes as well as IMAX and Real-D in Latin America. Cinepolis focuses on pure-play exhibition, high standards in theatre design, innovation, scale of business and operational strength.

 

Evans & Sutherland to Debut New 8K x 4K Pixel Laser Projector

http://www.2-pop.com/DigitalCinematography/article/82930

 

May 20 2009 11:33PM

 

The ESLP 8K is the highest resolution production digital projector with fidelity that exceeds the limits of the human eye.

 

Salt Lake City, UT -- Evans & Sutherland Computer Corporation (E&S) announced it will demonstrate its revolutionary

new laser projection system at the InfoComm 2009 tradeshow, booth 2372, June 17-19 in Orlando, Florida. This newest E&S Laser Projector (the ESLP 8K) is the world's highest resolution production video projector, and will offer research labs, control rooms, creative studios and indoor venues worldwide a window into worlds both real and imaginary, with fidelity that exceeds the limits of the human eye.

 

Laser projectors with NanoPixel technology are already in use in a growing number of planetarium theaters around the world, as part of the successful E&S Digistar Laser fulldome planetarium system. With the ESLP 8K, available in the second half of 2009, E&S is delivering this technology to the general projection marketplace with newly available flat-screen and panoramic-screen form factors. The new projector is also capable of displaying 3D in the highest resolution from any single projector: 4K x 4K.

 

NanoPixel Technology Generates Superior Picture Quality

The ESLP 8K laser projector system displays content the equivalent to sixteen times HD 1080p resolution, or the difference between 2 million pixels and 32 million. It is powered by a set of revolutionary laser light sources which offer multiple benefits, including low cost of operation. The hue of the lasers does not degrade or shift over time. Furthermore, the lasers yield a much wider useable color spectrum (200% of NTSC/HDTV) than is available in conventional LCoS, DLP, LCD, or other lamp-illuminated projectors.

 

E&S' unique NanoPixel silicon imaging chip is at the core of this high-resolution machine. Its 8,192 microscopic moving ribbons provide an image free of artifacts, with no visible gaps between pixels and absolutely zero persistence (smearing) in moving images. The control of these ribbons is fine enough to yield a 36-bit/pixel (12-bit/color) useable precision in

intensity.

 

Environmentally Sensitive

Despite its capability, the ESLP 8K comes with a surprisingly small environmental footprint. Its unique solid state laser light sources require only modest, quiet cooling and allow the projector to be powered from an ordinary wall outlet, thereby using significantly less power than other lower resolution 2K and 4K projectors. Furthermore, the laser light sources do not require periodic replacement (and disposal) as is the case with conventional lamp-driven projectors.

 

ESLP 8K Available for Traditional and Custom Applications

The ESLP 8K projector is targeted for commercial use in control rooms, visualization centers, education, simulation, editing, design studios, and other demanding applications all over the world. E&S will also continue to draw on its extensive research and development capabilities to meet the needs of its customers for customized and unique applications for the new ESLP 8K projector.

 

Evans & Sutherland, a company that has been setting the standard in advanced computer graphics for the past four decades, is poised to continue the trend at this year's InfoComm 2009. The E&S Advanced Displays exhibit will be

located at booth number 2372 in Hall C on the main show floor, and will showcase the ESLP 8K. The laser projector will be featured at the booth with a flat-screen forward projection display showing both 3D video at 4K and ultra-high resolution video at 8K, where InfoComm attendees will be able to experience the technology first-hand.

 

About Evans & Sutherland

For over 40 years, Evans & Sutherland has been at the forefront of developing computer graphics and digital display technology, and applications that benefit from it. Since the 1980's the company has applied its technology to offer the latest in high quality digital projection systems for digital planetariums and digital cinemas worldwide. E&S now produces professional hardware and software to create highly realistic visual images for digital theater and other applications throughout the world. In addition, Spitz, the leader in display dome manufacturing and a wholly owned subsidiary of E&S, designs domed theater and astronomical systems used in academics and entertainment. Evans & Sutherland is headquartered in Salt Lake City, UT and they also have offices in Chadds Ford, Pennsylvania, and Beijing, China. For additional information please visit www.es.com or call (801) 588-1000.

3-D Video and Cinema

http://videotechnology.blogspot.com/2009/05/3-d-real-video-and-cinema.html

 

Tuesday, May 19, 2009

 

3D was one the the technologies that really stood out at NAB this year. Sony, JVC, Panasonic, Philips, Samsung and Hyundai all had 3D displays running.

 

 

Xpol 3D system

Xpol polarizing filter method of 3D TV with is done by bonding a circular polar filters to each line on the LCD display. With passive polarizing filter glasses it creates a very high quality 3D image. Since both right and left images are displayed on one screen at the same time there is no flicker. The nice part is the polarizing filter glasses could be very inexpensive like the ones made by American Paper Optic, rather then more expensive LCD shutter glasses.

 

Xpol is from Arisawa an LCD display manufacturer.

 

Currently, there are only a few broadcasters such as BS11 (a satellite channel in Japan) with available 3D programming; therefore, Asuna Corporation has developed a device called a TriDef DVD player that will convert commercially available 2D content software into 3D video content by simply connecting a 3D monitor and commercial DVD player to it.

 

DDD

 

FASE FA System Engineering of Japan 3D Hi-Vision (HD) display manufactured by Asuna Corporation

 

 

"naked-eye" and WOW 3D systems

Both developed by Philips Electronics the "naked-eye" 3D system that does not require polarizing glasses but uses a special lenticular lens. The problem is the position of the viewer is critical.

This system inserts black and white depth information (called Depth Map) to conventional 2D images to create 3D images.

 

For-A Co

 

Mitomo Co., Ltd. world's largest 3D LCD monitor. The 65-inch monitor was developed by VisuMotion of Germany and like the monitor manufactured by Philips Electronics, it also incorporated a "naked-eye" 3D system. This LCD monitor was released in June 2008, and the company said that it will be able to develop even larger 100-inch+ sized displays using LEDs. The company has also succeeded in developing a commercially viable mobile phone with 3D-image capability and this product is expected to hit the market in the near future.

Barco and Kodak sign worldwide digital projector supply agreement

http://www.digitalcinemainfo.com/barcodigitalcinema_05_19_09.php

May 19, 2009

Source: Barco

Barco, a global leader in digital cinema projection technology, is proud to announce that it has signed a supply agreement with Kodak, a global leader in entertainment imaging. Under the terms of the agreement, Barco could deliver up to 10,000 digital cinema projectors to support Kodak’s worldwide digital cinema deployment.

Barco and Kodak, two recognized industry leaders, have entered into this supply agreement to provide exhibitors fully integrated digital cinema solutions. These include high quality Barco digital cinema projectors combined with Kodak digital screen management servers and theatre management systems.

“We are proud to have been selected by Kodak; this is the continuation of a long-term relationship,” comments Wim Buyens, VP of Barco's digital cinema business. “Our modular design and complete family of projectors provide Kodak with the total cost of ownership and superior image quality required for worldwide audiences.

“Barco has a long-term commitment to high quality projection technology in digital cinema,” said Les Moore, chief operating officer for Kodak Digital Cinema. “We are already working with them in a number of multiplexes in the United States and beyond. By combining Barco's capabilities with ours, we can jointly provide a complete solution to the marketplace. This new agreement will be a good fit for both companies and for our customers worldwide.”

Todd Hoddick, US VP of Barco's digital cinema business adds: “We are pleased to partner with Kodak on this worldwide deal. We have been very focused on delivering value to our customers, and that fits perfectly with Kodak's customer focus and commitment to quality.

Barco has developed a modular digital cinema projector platform offering a cost effective solution for every screen size. To support its rapidly-growing installed base of digital projectors, Barco has launched a Certified Service Partner program to establish a worldwide support network with the highest quality local service and support. As part of the supply agreement, Kodak technicians will also participate in the Barco Certified Service Partner program

 

Barco Celebrates "Disney's A Christmas Carol" Train Tour

http://www.digitalcinemainfo.com/barcodigitalcinema_05_20_09.php

May 20, 2009

Source: Barco

Disney's A Christmas Carol Train Tour uses Barco DP-2000 Digital Cinema Projectors for the Traveling, State-of-the-Art Digital 3D Theatre.

When “Disney's A Christmas Carol” Train Tour, sponsored by HP, makes its debut at Los Angeles' Union Station this Memorial Day Weekend (May 22nd – 25th), and subsequently launches its 40-city whistle stop tour across the U.S. over the next 24 weeks, Barco's DP-2000 digital cinema projectors will be on board. Disney has selected Barco's state-of-the-art projectors to provide the public with a special sneak peek at its spectacular new holiday release, in a traveling Disney Digital 3D™ theatre that will be erected at each stop along the way. For each showing, Dolby Laboratories will provide its Dolby® 3D Digital Cinema technology, which when combined with Barco's DP-2000 projectors, delivers realistic color and sharp images on standard white screens.

Slated for a November 6 release, “Disney's A Christmas Carol” stars Jim Carrey and is directed by Academy Award-winning filmmaker Robert Zemeckis. The nationwide rail tour beginning on May 22nd is free to the public at each venue, offering a behind-the-scenes look at the making of the movie, culminating with the 3D sneak peek of footage shown inside Disney's remarkable, 48-foot wide, 120 seat Disney Digital 3D theatre.

Lylle Breier, senior vice president of Worldwide Special Events for Walt Disney Studios Motion Pictures, said, “We're thrilled to be using state-of-the-art digital projectors from Barco, and the latest 3D technology from Dolby Laboratories, to showcase these incredible scenes from the exciting and ground-breaking 'Disney's A Christmas Carol,' directed by visionary director Robert Zemeckis. This allows us to present images from the film in the best possible way, and to demonstrate the excitement that awaits moviegoers this November. The train tour is free to visitors of all ages, and we know that everyone is going to have a great time exploring the four custom-designed rail cars, and participating in the fun activities, and demonstrations that go along with it.”

"We are extremely pleased to be working together with The Walt Disney Studios on this one-of-a-kind nationwide train tour,” said Joe DeMeo, Barco's Director of Sales for Digital Cinema, N.A. “Barco is proud to be bringing 'Disney's A Christmas Carol' to life utilizing Barco 3D projectors and pleased that Disney selected our projectors for this unique and historic event. Disney is a worldwide leader in the entertainment industry and is renowned for their image quality and excellence. This experience represents a true synergy in image quality and entertainment."

For complete details about Disney's train tour, plus the dates and locations of each stop, please visit www.christmascaroltraintour.com.

 

Sony Pictures and Sony Electronics Team to Deliver "Angels & Demons" in 4K Resolution

http://www.digitalcinemainfo.com/sonyprofessional_05_20_09.php

May 20, 2009

Source: Sony Professional

New Release Joins DreamWorks Pictures and Universal Pictures’ “The Soloist” and Fox’s “X-Men Origins: Wolverine” as Recent High-profile Titles Distributed in 4K

The growing list of feature-length motion pictures distributed in 4K resolution now includes “Angels & Demons,” the highly anticipated follow-up to 2007’s “The Da Vinci Code.” The Sony Pictures Entertainment movie, which opened worldwide on May 15, will be shown in 4K resolution using Sony 4K digital cinema projection systems.

It will also be available as a 4K Digital Cinema Package for playback in 2K-equipped theaters.

The movie’s availability in 4K marks the third major studio release to be distributed in 4K in the past month, joining “The Soloist” (DreamWorks Pictures and Universal Pictures, released by Paramount Pictures) and “X-Men Origins: Wolverine” (Twentieth Century-Fox Film Corporation).

This trio of high profile 4K releases continues the growing trend toward making more 4K content available to audiences, and follows Sony Pictures Entertainment’s recent announcement that it will use 4K digital technology in the making of some of its most highly anticipated productions. Previous 4K releases from Sony include “Spider-man™ 3,” “The Da Vinci Code,” and “Hancock,” with 4K distribution also planned for the upcoming releases of “Salt” and “The Green Hornet,” among others.

“We are proud to offer ‘Angels & Demons’ in 4K resolution,” said Rory Bruer, President of Worldwide Distribution for Sony Pictures Worldwide Marketing and Distribution. “The picture and sound quality is truly stunning and it showcases the superior capability of digital projection.”

The team behind the global phenomenon “The Da Vinci Code” returns for “Angels and Demons,” with both movies based upon the bestselling novels by Dan Brown. Tom Hanks reprises his role as Harvard symbologist Robert Langdon, who once again finds that forces with ancient roots are willing to stop at nothing, even murder, to advance their goals. Ron Howard returns to direct the film, which is produced by Brian Grazer, Ron Howard, and John Calley. The screenplay is by David Koepp and Akiva Goldsman.

“Exhibitors and studios understand the incredible value of 4K projection and how it allows audiences to see more detail than ever before, creating a truly unique cinematic experience,” said Gary Johns, vice president of Sony Electronics’ Digital Cinema Systems Division. “With 4K becoming an increasingly important part of studios’ distribution plans, the fast-growing number of 4K-equipped theaters will now have even more content available to offer their customers.”

When a 4K screening of “Angels & Demons” is booked, it will be shown using Sony’s SRX-R220 model digital cinema projectors. The units, which are engineered for DCI-compliance, are Sony’s newest 4K systems, with 21,000 lumens, designed specifically for movie theater projection.

 

Imax: Screen size not important

http://www.hollywoodreporter.com/hr/content_display/film/news/e3i23722e25472e38b4e97a636d7cddd31a

Execs emphasize incremental cost as d-cinema spreads

 

By Carl DiOrio

May 19, 2009, 08:34 PM ET

 

Imax execs sought Tuesday to wow the media at a company presentation while also performing a bit of damage-control amid a controversy over the size of the specialty exhibitor's new digital screens.

That might sound like an awkward dance step, but corporate twists and turns are nothing new for Imax veterans.

Long known as a "giant-screen exhibitor" thanks to a circuit of movie screens of up to 76 feet in height, the Toronto-based company is maneuvering into digital projection by rolling out hundreds of new venues. The move is connected to Imax's other recent strategy of regularly programming its auditoriums with commercial pics like last summer's "The Dark Knight" and current hit "Star Trek."

Most of Imax's original venues were based in museums, and for years the exhibitor showed mostly nature and space films. "Most of the films were bears, whales and seals," Imax co-CEO Rich Gelfond recalled.

The transition into Hollywood-oriented digital cinema has been good for Imax shares, which have steadily risen during the past six months. The stock dipped 3 cents to close at $7.03 on Tuesday.

But investors were jarred briefly when actor Aziz Ansari of NBC's "Parks and Recreation" complained in a Twitter-fueled blast that he felt duped into thinking he would be seeing "Star Trek" on a giant screen, only to discover its digital screens were close to conventional size. Ansari noted he paid a $5 premium to see the sci-fi actioner in an Imax auditorium.

Imax officials dealt with the matter by labeling it an old issue that hadn't kicked up a fuss until now. The average Imax screen size has been just slightly bigger than conventional screens for about six years, ever since the company began offering less expensive Imax-format systems for easier implementation in multiplexes, they noted.

The newer systems cost just $1.5 million to get up and running compared with about $5 million in start-up costs for an original Imax system. The digital systems now being rolled out -- with multiplex-installation costs of just $150,000 in many instances -- are of the same dimensions as the second generation of Imax's analog systems, officials said.

The company's multiplex agreements allow the removal of the lower portion of seating in stadium-seat venues, creating the perception of greater screen size and viewing immersion, they added, and Imax's remastering of commercial films tagged for its distribution boost image resolution and brightness.

The move into Hollywood programming came after technological innovations allowed a similar lowering of costs to distributors.

"Now virtually every studio wants to release their films to Imax, because the costs are just incremental," Gelfond said. "And that's because instead of telling the studios they have to get into the Imax business, we got into their business."

Imax Filmed Entertainment chief Greg Foster, who oversees the company's relationships with Hollywood majors, said he expects Universal soon to join other Hollywood majors in agreeing to release films in Imax venues.

"We have multipicture deals with every studio, with that one exception, and we're having conversations with them," Foster said.

The broad interest in partnering with Imax has given the specialty exhibitor a nice problem: Having to choose among films offered for release. Those set for summer release include this weekend's "Night at the Museum: Battle of the Smithsonian" from Fox; "Transformers: Revenge of the Fallen" from DreamWorks and Paramount; and Warner Bros.' "Harry Potter and the Half-Blood Prince," which will have select 3-D scenes viewable only in Imax presentation.

Imax concluded its media event with a 25-minute reel of several trailers from its upcoming Hollywood releases.

 

European digital screen base grows by 70% in 2008

http://www.obs.coe.int/about/oea/pr/digital_cinema2008.html

Strasbourg / Milan, 17 May 2009

Digital cinema is gaining ground in Europe. According to recent figures provided by MEDIA Salles, the number of digital screens equipped with DLP Cinema or Sony 4K technology increased during 2008 by 70% to 1 529 digital screens as of 1 January 2009. The European Audiovisual Observatory estimates that between 4 and 5% of all European screens had been converted to digital by the end of 2008. The number of theatres equipped with at least one digital screen grew to 815 sites, up 48% from 2007.

By the end of 2008 each European digital theatre operated on average 1.9 digital screens, compared to 1.6 in the previous year. This indicates that exhibitors are increasingly opting to convert more than one screen to digital in their theatres in order to enable digital screening along a film's commercial life cycle and to guarantee the flexibility to react to changes in demand. MEDIA Salles also reports 3D as a major driver stimulating conversion to digital. This would appear to be particularly true for Italy where, according to the local trade press, Journey to the Centre of the Earth opened on just 42 3D screens in January while Monsters and Aliens was released on a total of 102 3D screens in April 2009.

Table 1: Digital cinema sites and screens in Europe 2003 - 2008 (as of year end)

Based on an early roll-out in the framework of its Digital Screen Network - the first public initiative to support digitalisation of cinemas in Europe which began roll-out in autumn 2005 - the United Kingdom still leads the European digital cinema market with 303 digital screens operational at the end of 2008. However, with no further public funding available, screen growth has slowed down, with only 19 new digital screen installations throughout 2008. In contrast, France is rapidly catching up on the UK, with digital screens almost quadrupling to 253 units in 2008, up from only 66 in the previous year. This growth is chiefly due to the decision by CGR, the third largest French exhibitor, to start conversion of its approx. 400 screens. While awaiting the outcome of negotiations over a funding scheme to support the digitalisation of German cinemas - the so-called 100 model - German exhibitors were hesitant to invest heavily in conversion, transforming only an additional 10 screens throughout the year. This brought the German total digital screen base to 161, now the third largest  base in Europe. Relative to their size, Luxemburg and Belgium show the highest density of digital cinema installations, with 21 and 98 digital screens respectively in operation by the end of 2008.

While many countries are still developing schemes to support the transition to digital, the Polish Filmmakers Association scheme to support the installation of up to 300 digital projectors in smaller cinemas contributed to increasing Poland's digital screen base to 53, up from only 8 in 2007. In other countries larger exhibitors such as Cineplexx Kinobetriebe in Austria or ZON Lusomondo in Portugal followed CGR's example and decided to go ahead with the conversion of their screens, often in response to the perceived attraction of 3D screenings. As a result of these initiatives a significant increase in digital projection systems could be observed in Russia (+59), Austria (+49), Italy (+42) and Portugal (+30) throughout 2008.

Table 2 : Digital cinema sites and screens in Europe 2007 - 2008 (as of year end)

 

Notes for Editors:

• Data have been collected in collaboration with MEDIA Salles.
• Europe is defined as the 30 countries covered by MEDIA Salles with regard to digital cinema data.

The European Audiovisual Observatory, Council of Europe

Set up in December 1992, the European Audiovisual Observatory's mission is to gather and distribute information on the audiovisual industry in Europe. The Observatory is a European public service body comprised of 36 member states and the European Community, represented by the European Commission. It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, the compilation and management of databases and the provision of information through the Observatory's Internet site (http://www.obs.coe.int).

MEDIA Salles

The MEDIA Salles project operates within the framework of the European Union's MEDIA Programme, with the support of the Italian Government.  MEDIA Salles fosters the theatrical distribution of European films. This aim is pursued both by events involving Europe's cinema exhibitors and by initiatives to raise the visibility of European productions with industry players and potential audiences. Current initiatives from MEDIA Salles dovetail in a programme with a triple focus - training, promotion and information. Training initiatives are specifically aimed at exhibitors and include professional courses on digital cinema. Promotion focuses on creating a launching pad for European audiovisual products at the most important professional shows throughout the world and information services include the European Cinema Yearbook and newsletters on digital cinema.

 

Contacts at the European Audiovisual Observatory:

• André Lange (Head of Department, Information on Markets & Financing)
  andre.lange@coe.int - tel.: +33 (0) 3 90 21 60 00
• Martin Kanzler (Analyst, Department for Information on Markets & Financing)
  martin.kanzler@coe.int - tel.: +33 (0) 3 90 21 60 22

Contact at MEDIA Salles:

• Elisabetta Brunella (Secrétaire générale)
  Infocinema@mediasalles.it - tel.: +39 02 67 39 7823

 

Regal will install the Sony 4K digital projections systems across its entire circuit

http://celluloidjunkie.com/2009/05/18/daily-cinema-roundup-monday-18-may/\

 

Posted by Carolyn Giardina | May 18, 2009 8:56 am

–Sony and Regal released a press release this morning, officially announcing that Regal will install the Sony 4K digital projections systems across its entire circuit. (See Celluloid Junkie’s Friday post below on this news).
According to the release, the installation of the systems is expected to take 3-5 years, but the financing is being handled through DCIP. So the question is, when will installations start?
There is still no word on DCIP securing the needed funding to begin its planned wide rollout. DCIP represents AMC, which also plans to deploy Sony technology; as well as Regal and Cinemark.

Sony also reported that approximately 1,500 of the Regal screens will be outfitted for 3D using Sony’s dual-lens adaptor technology.
Amy Miles, Regal Entertainment Group’s incoming chief executive officer, is quoted in the press release as saying: “The rollout of these Sony 4K systems gives Regal the opportunity to utilize the latest technology to provide our patrons the best available presentation. Sony’s state-of-the-art 4K systems produce the highest levels of resolution, contrast and overall image quality.”

 

Latest Digital Releases

These Major Hollywood Feature Films are scheduled to be Released Digitally

Here is our current list of major Hollywood feature films that are scheduled for digital release. This list is compiled with the help of DLP Cinema.

Release Period	Movie	Distributor	Distribution
April 17-23	17 Again	Warner Bros.	Wide
April 17-23	Crank 2	Lionsgate	Wide
April 17-23	State of Play	Universal	Wide
April 24-30	Earth	Disney	Limited
April 24-30	Fighting	Universal	Wide
April 24-30	Obsessed	Sony Pictures	Wide
April 24-30	The Soloist	Paramount	Wide
April 24-30	Vanilla Gorilla	Freestyle Releasing	Wide
April 24-30	Red Velvet	41 Inc.	Limited
April 24-30	What Doesn't Kill You	Yari Film Group	Limited
April 24-30	Every Little Step	Sony Classics	NY/LA
April 24-30	OHorten	Sony Classics	NY/LA
May 1-7	The Ghosts of Girl Friends Past	Warner Bros.	Wide
May 1-7	X Men Origins: Wolverine	20th Century Fox	Wide
May 15-21	Angels and Demons	Sony Pictures	Wide
May 15-21	Bruno	Universal	Wide
May 15-21	The Brothers Bloom	Summit Entertainment	Limited
May 15-21	Lorna's Silence	Sony Pictures	NY/LA
May 8-14	Next Day Air	Summit Entertainment	Wide
May 8-14	Star Trek	Paramount	Wide
May 8-14	Wild Child	Universal	Wide
May 8-14	My Life in Ruins	Fox Searchlight	Limited
May 8-14	Adoration	Sony Classics	NY/LA

 

Breaking News: Sony Is Regal's Choice For Digital

http://celluloidjunkie.com/2009/05/15/rumor-has-it-sony-is-regals-choice-for-digital/

Posted by J. Sperling Reich | May 15, 2009 3:23 pm

UPDATE: A Celluloid Junkie source has confirmed that Regal has chosen Sony 4K digital cinema technology for its theater circuit, which consists of 6,793 screens in 551 theaters (that figure includes Imax screens and screens that already offer digital projection). The news comes just a few months after AMC Entertainment decided to install Sony 4K projection systems across its theater circuit, which represents a total of 4,628 screens at 309 theaters in five countries. Combined, the deals have the potential to make Sony the market leader in North America once the installations are complete–although there is no word yet on a rollout schedule. Both Regal and AMC are members of DCIP. The third DCIP member, Cinemark, has not committed to a projector manufacturer. 

 Earlier today I heard a rumor that Regal Entertainment had chosen to install Sony’s 4K digital cinema technology circuit-wide.  Even as I was confirming the rumor, news of the decision was spreading throughout the industry like wildfire.  In fact, Digital Cinema Report sent an email out to its subscribers that stated:

Regal Cinemas has selected Sony 4K digital cinema technology for all of its theatres. Two sources confirmed the news today. Following on the heels of AMC’s decision to work with Sony this marks Sony’s second major success story in recent weeks.

If this news turns out to be true it could quite possibly make Sony the market leader in digital cinema projection.  At least it would once all of the projectors were installed, which could take years.  There is no word on a rollout schedule or when the first units will be installed.

One reason Regal may be going with Sony is that they can provide financing for any planned rollout.  Both AMC Entertainment and Regal are part of Digital Cinema Implementation Partners’ integration efforts, though DCIP has yet to announce any success they have had in raising funds for their rollout.  We’ll provide updates as details become available.

 

Cannes to offer reusable 3-D glasses - Entertainment News, Weekly Smoke and Mirrors, Media - Variety

http://today3d.blogspot.com/2009/05/cannes-to-offer-reusable-3-d-glasses.html

 

Cannes to offer reusable 3-D glasses - Entertainment News, Weekly Smoke and Mirrors, Media - Variety: "While distribs and exhibs wrestle over the costs of disposable 3-D glasses, reusable glasses bring their own issues, and the Cannes festival is about to bring them front and center.

The fest, going green, will use a reusable glasses system from Xpand in five theaters. But organizers chose not to install the cleaning machines for the glasses that some theaters use.

The gala opening-night screening of 'Up' will have brand-new glasses, right from the box, but thereafter the box office will give patrons sanitizing wipes and ask them to clean their own glases.

Laura Peralta-Jones, VP of sales and marketing for Xpand, says, 'We'd just as soon they be responsible for cleaning their own glasses, because people in Europe are accustomed to that.'

But, acknowledging fears over the spread of swine flu, Peralta-Jones left open the possibility that Xpand teams might step in to clean the specs.

The spread of illness via dirty glasses raises liability issues for theaters, which is why many opt for cleaning machines.

And while there are anecdotal reports of customers encountering dirty glasses even at the Grove multiplex in Los Angeles, Dolby VP John Carey doesn't think such problems will impact auds' support for 3-D, as long as they remain isolated."