Digital switch coin found - Entertainment News, Film News, Media - Variety

http://today3d.blogspot.com/2009/10/digital-switch-coin-found-entertainment.html

 

Cinedigm Digital Cinema Corp. has secured a line of credit of up to $100 million to help theater owners make the transition to digital, a prerequisite for showing films in 3D.

GE Capital Media's Communications & Entertainment business and French company Societe Generale Corporate & Investment Banking are providing the funds.

Once the deal for the coin is finalized, Cinedigm will use the credit to support the deployment of up to 2,133 digital systems next year as part of its 10,000-screen deployment.

GE Capital's commitment covers up to 1,600 digital systems, and Societe Generale's up to 533 systems.

The line of credit was secured after all the major studios agreed to pay exhibs a virtual print fee for digital prints, helping to offset the cost of digital and 3D conversion.

Cinedigm's announcement is good news for exhibs and distributors, since it heralds the thawing of credit markets.

Insiders said that the Digital Cinema Implementation Project -- a consortium formed by mega domestic circuits AMC, Cinemark and Regal -- also is close to securing a line of credit that will be used to convert auditoriums to digital. DCIP, through JPMorgan, was trying to secure the facilities when the economy tumbled."

Christie Delivers Broadest Range of Next-Generation Digital Cinema Projectors

http://www.2-pop.com/DigitalCinematography/article/88774

October 27, 2009

 

Christie Continues Global Leadership with New Solaria Series 2K and 4K-Ready Solutions

 

ShowEast 2009

Orlando, FL -- Christie, the leader in digital cinema projection technologies, will debut its next-generation digital cinema

solutions, the Christie Solaria series, at ShowEast with the launch of the Christie CP2220 digital cinema projector. Recognized as “the future of digital cinema,” the projector features Texas Instruments’ (TI) next generation DLP Cinema technology and an optional integrated 2K/4K media block. Christie’s next-generation 4K digital cinema projectors will display 4096 x 2160 pixels of resolution. While maintaining support for 2K external servers, these new models allow exhibitors to easily project 2K or 4K content, giving them the widest choice in digital cinema options. The Christie CP2220 with Doremi’s integrated media block will be on display at the Christie booth #1100.

 

The Christie CP2220 is the first in the new series of digital cinema projectors that also includes the Christie CP2210 and the Christie CP2230. The Christie CP4220 and the Christie CP4230, also introduced in June, are the Company’s premium 4K projectors and among the brightest in the world – like the 2230, the 4230 is capable of delivering over 30,000 lumens on the largest screens and delivers breathtaking 3D images. All next-generation Christie digital cinema projectors continue to utilize Christie Brilliant3D technology, providing the ultimate 3D experience with the lowest cost of operation.

 

“Christie is committed to supporting its customers today and in the future. That’s the primary driver behind our 2K and 4K-ready solutions,” remarked Craig Sholder, vice president, Entertainment Solutions at Christie. “We’ve expanded our line-up of industry-preferred digital cinema solutions to provide the most flexibility for exhibitors – offering them the ultimate freedom to choose from the widest range of 2K or 4K resolution projectors, as well as providing them with the choice of either an external or integrated media block. Unlike other proprietary solutions, Christie technology is designed to work with all external cinema servers and will continue to work with companies that offer integrated media blocks. We understand how important it is for exhibitors to safeguard their long-term technology investment. With Christie, exhibitors are assured they have a future-proof solution that can meet their needs both today and tomorrow."

 

“Christie’s experience with the 1.2" DLP Cinema Chip on our current mid and high power products has given us an advantage over the competition on developing next generation 2K and 4K technology. In fact, the 4K DLP Cinema Chip is very similar to the current 1.2" products and not available in the smaller chip format used by other manufacturers in their mid power projectors,” noted Brian Claypool, senior product manger, Entertainment Solutions for Christie. “At ShowEast, the industry will see the world’s first Series II 2K 1.2" DLP Cinema projector, designed around a fast and cost effective 4K upgrade. Only Christie’s DLP Cinema solutions have been tested and proven with the most installations worldwide and an unmatched 99.999% reliability rating.”

 

All projectors in the Christie Solaria series are designed to meet Digital Cinema Initiatives (DCI) specifications. They feature a new modular architecture for improved serviceability and ease of maintenance, with up to 25% lower cost of operation than competing technologies.

 

Recognized for their superior light output capabilities, Christie digital cinema projectors have once again been selected to screen all major studio releases at AMC Theatres during ShowEast.

 

Also at ShowEast, Christie will present the latest version of ChristieACT. Designed to provide true integration of theater operations, ChristieACT features pre-programmable sequencing, built-in device libraries and web-based integration. With ChristieACT, exhibitors can now control entire booth operations from the palm of their hand.

 

 

Exhibitors look beyond the multiplex

http://www.variety.com/article/VR1118010370.html?categoryid=18&cs=1

 

New programming changes theater design plans

By RACHEL WIMBERLY

 

In the first week of October, Sony teamed up with movie theaters for a four-city tour that allowed gamers to play the new PlayStation3 title "Uncharted 2: Among Thieves" on the bigscreen.

 

Mike Fidler, senior vice president of Sony Electronics' Digital Cinema Solution and Services Group, says the tour gave exhibitors the chance to offer additional programming options that could come from alternative content, "such as gaming events, simulcasts, prerecorded concerts and sporting events."

 

With new programming, though, come different patrons who use theaters differently and make different demands. Gamers, for example, are likely to sit longer than moviegoers. So exhibitors are rethinking theater design with an eye toward accommodating new customers and events.

 

That affects everything from concessions to theater seating.

 

AMC Entertainment has tried to get ahead of the curve at a few of its theaters. In Buckhead, a suburb of Atlanta, patrons can sit in plush seats in the Fork & Screen theater and have tabletop service that includes fire-roasted veggie quesadillas as well as a beer to go along with it from MacGuffins, a bar adjacent to the theater.

 

Frank Rash, AMC Entertainment's senior vice president of strategic development, says only a handful of theaters so far offer the upgraded service. "Obtaining a liquor license is a city-by-city, municipality-by-municipality case," Rash notes.

 

In other words, don't expect bars to pop up in all of AMC's theaters overnight. But with sports beginning to push their way onto theater screens, exhibitors can see they'll need to sell beer if they want to sell tickets.

 

Besides alternative content, the digital rollout also challenges exhibitors to push the envelope on how theaters themselves should look in the future.

 

Digital projectors eliminate the need for large platters to hold prints, so projection booths can shrink. And with a central control room running those d-cinema systems remotely, multiplexes might evolve away from the current air-terminal design, which is dictated by the need to have projectionists keep an eye on many screens at once.

Creating a more immersive theater experience, especially with the explosion in the popularity of stereoscopic 3D (S3D), also looks like a priority.

 

"The introduction of digital design has increased stadium-seating presentation house experiences with better sound, acoustics, seating comfort and overall viewing," says Don Rataj, principal of Rataj-Krueger Architects.

 

Even with the upgrades, Marty Banks, director of the Visual Space Perception Laboratory at UC Berkeley, pointed out at the NAB Digital Cinema Summit earlier this year that S3D will force exhibitors to redraw the floor plans of their theaters because patrons sitting on the sides, especially in front, get a poor experience in S3D.

"We do have viewing challenges with 3D and even 2D," Rash concedes. "We're always trying to improve sight lines."

 

Strong Industry Support Accelerates Technicolor 3D Rollout Multiple Movie Studios Planning on Showing Content in Technicolor 3D

http://www.2-pop.com/DigitalCinematography/article/88698

October 24, 2009

 

Hollywood, Paris - Thomson, through its Technicolor Business Group, announced support from multiple major motion picture studios for the release of theatrical content presented in Technicolor 3D, a high-quality 3D solution that works with existing 35mm projectors that was announced last month. DreamWorks Animation, Lionsgate, Paramount, Overture, Universal Pictures, Warner Bros., and The Weinstein Company are working with the company to deliver content for presentation in Technicolor 3D.

 

With the continuing success of 3D movies at the box office, 17 3D titles have already been announced for 2010 release, with more expected from several distributors. The studios noted above account for the majority of these titles, including How to Train Your Dragon, Piranha 3D, Shrek Forever After, Despicable Me, Cats & Dogs: The Revenge of Kitty Galore, Friday the 13th: Part 2; Guardians of Ga'Hoole, Alpha and Omega, Burst, Oobermind, and Yogi Bear.

 

Additionally, Deluxe Entertainment Services Group Inc. has agreed to enter into a marketing and technology arrangement with Technicolor and will provide their customers with the necessary post production and film printing services to deliver Technicolor's 3D solution. Kodak and FUJIFILM have also announced support of the Technicolor 3D solution and will be working with Technicolor and Deluxe to ensure their film stocks are delivering the highest quality possible for the Technicolor 3D experience.

 

"The Technicolor 3D rollout substantially increases the 3D theatrical footprint, delivering to studios a larger platform for reaching masses of moviegoers - and thereby increasing the box office for distributors and exhibitors," said Frederic Rose, Chairman and CEO of Thomson. "Technicolor is thrilled to extend our partnerships with these top studios and other key

industry players to address the 3D gap and ensure every exhibitor that wants quality 3D will be able to afford it."

Numbers show 3D is a driver of ticket sales with 3D engagements outperforming 2D by more than 2-to-1 in attendance and even greater in box office. Prior to Technicolor's 3D solution, 90 percent of theatre screens in the U.S. were not able to provide a 3D experience to moviegoers. The Technicolor 3D solution will provide a solution to immediately bridge the

gap until digital cinema can be more widely rolled out, providing additional screens to advance the medium of 3D to mainstream levels.

 

About Technicolor 3D

 

Announced earlier this year, Technicolor has innovated a high-quality, affordable 3D solution that works with existing 35mm projectors. Technicolor puts high quality 3D within economic reach of all theatre circuits, allowing them to complement 2D engagements and benefit from incremental revenue generated from increased ticket sales and ticket sale surcharges. The Technicolor 3D Solution is an opportunity to deploy 3D immediately, without waiting for financing to be available for digital conversion and can not only bridge the gap until such financing can be put in place, but actually

help generate the funds required by distribution and exhibition to pay for the conversion.

 

According to exit polling interviews conducted by independent research firm OTX, moviegoers ranked Technicolor 3D as being comparable to digital 3D cinema technologies.

 

How the Technicolor 3D Solution Works

 

The Technicolor 3D Solution employs a propriety "production to projection" system that leverages 35mm (or film) projectors already in use by 90 percent of U.S. and international theatres today to deliver high-quality 3D content to moviegoers. A patent-pending lens system assembles the left and right eye images as the film runs through the projector and delivers a 3D ready image onto a silver screen. The solution works with circular polarized glasses--identical to the ones used for existing digital 3D cinema--to "translate" the film's content into an image that is perceived by the viewer as being three dimensional. The silver screen can be used for the projection of both Technicolor 3D as well as digital 3D content. The Technicolor 3D Solution can be installed nearly immediately. No build-out or significant modifications of the projection booth are required.

RealD LIVE to Debut With Real-Time 3D Broadcast of 'El Clasico'

http://www.2-pop.com/DigitalCinematography/article/88718

 

 

October 26, 2009

 

 

Live 3D Broadcast of Storied Soccer Rivalry Between Chivas de Guadalajara and Club America to RealD LIVE Equipped Theatres in Mexico and USA

 

Los Angeles -- RealD announced the debut of RealD LIVE with a real-time 3D broadcast of "El Clasico", the famed rivalry between Mexican soccer powerhouses Chivas de Guadalajara and Club America, on Sunday, October 25th, to RealD equipped theatres in Mexico and the United States. RealD has partnered with Televisa and Sony de Mexico on the event, which will be broadcast to Cinepolis theatres in Monterey and Guadalajara, Mexico, and to a private screening at the AMC Burbank Town Center 6 in the United States.

 

"This live 3D broadcast will bring the excitement and pageantry of this extraordinary event to theatres in fully immersive RealD 3D for an experience only matched by being in the stadium," said Joe Peixoto, RealD president of worldwide cinema. "RealD LIVE is the next step in 3D entertainment, offering our worldwide network of exhibition partners the ability to show spectacular live events while bringing fans so close to the action they'll feel like they're on the field."

 

RealD LIVE is a new product that works with all RealD Cinema Systems enabling RealD equipped theatres to display live event broadcasts from anywhere in the world in crisp, clear, fully immersive RealD 3D. When connected to a RealD Cinema System, RealD LIVE receives a broadcast signal and converts the stream to a format compatible with the digital cinema projector. With standard RealD cinema eyewear, audiences will experience the high-quality, stunningly lifelike viewing experience RealD 3D is known for.

 

With 3D films driving today's record box office, RealD LIVE promises to open new 3D entertainment opportunities to the over 9,000 screens contracted and nearly 4,000 RealD 3D equipped screens in 48 countries with live alternative content broadcast capabilities for concerts, sporting events, theatre and

more.  

 

RealD LIVE is expected to be rolled out to the company's worldwide network of theatres later in the fourth quarter of 2009.

 

About RealD

RealD is the global leader in 3D, bringing the most advanced and realistic 3D experience to cinemas worldwide. RealD's new generation technology, deployed across the world's largest 3D platform, provides a high-quality, stunningly lifelike viewing experience. Beyond cinema, RealD is the worldwide inventor and provider of key stereoscopic technologies used in science, manufacturing, marketing, and other industries, with 30 years of scientific development behind its systems.

 

 

Sony Unveils Next Generation of its 4K Digital Cinema Technology

http://www.2-pop.com/DigitalCinematography/article/88802

 

October 28, 2009

 

New SRX-R320 projection system, LMT-300 Media Block and Theater Management System gives exhibitors flexibility. 

 

Sony is unveiling a new 4K digital cinema projection system that builds on its proven technology in use by exhibitors today while offering new enhancements in performance and functionality.

 

Sony’s newest system features the SRX-R320 4K SXRD projector and LMT-300 Media Block. It incorporates similar features and design elements of its predecessor – the widely implemented SRX-R220 system. However, the new system measures approximately half the size and weight to give exhibitors more installation options.

 

“Since we introduced our first 4K projection system 5 years ago, Sony has advanced the technology to meet the continually evolving requirements for digital exhibition,” said Gary Johns, vice president of Sony Electronics’ Digital Cinema Systems Division. “This newest version continues that tradition and illustrates why exhibitors of all sizes are making Sony 4K technology their projection choice. With extremely high resolution, outstanding security, and operational versatility, this new system is ideal for creating an immersive digital cinema experience – in 2D or 3D – on any screen.”

 

The new system incorporates the ultra-high 4096 x 2160 resolution of its successful SXRD counterparts and delivers a high contrast ratio of more than 2000:1, ideal for applications in which dynamic range is essential. It is designed to be compatible with the same lamps and lenses used for the R220 model.

 

The system is FIPS 140-2 compliant and its secure enclosure design allows the LMT-300 server to be seamlessly integrated into the projector’s chassis, providing a high level of security that meets the SPB-2 anti-tamper regulations stipulated by the Digital Cinema Initiatives (DCI). The projector also produces superb images that are compliant to DCI requirements for image parameters such as color fidelity, white point and contrast.

 

A choice of six optional automated zoom/focus lenses and selectable 4.2 kW, 3.0 kW, and 2.0 kW Xenon projector lamps allows for screen coverage of up to 20 meters (65 feet) – providing a SMPTE-standard brightness level of 14 ft-L on a wide screen. Using an optional anamorphic lens (LKRL-A001), screen coverage can be extended up to 21.4 meters (70 feet).

 

Using Sony’s 3D dual lens adaptor, the SRX-R320 projector can deliver crisp 3D images on screens up to 15 meters (50 feet side-masked) in width at 4.5 ft-L brightness.

 

The lenses of the SRX-R320 have the capacity to reproduce resolutions higher than 4K, which is necessary to project 4K content exactly at 4K resolution. In addition, these lenses are designed to minimize chromatic aberrations.

 

The new system offers the optional STM-100 Theater Management System software suite that allows theater staff to efficiently manage multiple auditoriums from a central PC connected to a theater’s LAN. The TMS technology can provide efficient centralized management for cinema complexes.

 

The SRX-R320 4K projector and LMT-300 Media Block are planned to be available in November.

 

International Datacasting and SENSIO Technologies Selected for First Live 3D Broadcast of Major Soccer Event

http://www.2-pop.com/DigitalCinematography/article/88790

 

October 27, 2009

 

Mexico's Televisa debuts 3D live sporting events. 

 

Ottawa, Ontario and Montreal, Quebec -- International Datacasting Corporation , a world leader in distribution of multimedia data, and SENSIO Technologies Inc., the inventor of the SENSIO 3D technology, announced that their solution for 3D live events was selected and deployed by Mexico's Televisa for the historic first public broadcast of a live soccer game.

 

The event-the classic Americas vs. Chivas rivalry-was broadcast live from Mexico City's Aztec Stadium to theatres in the country's three largest cities (Mexico City, Guadalajara and Monterrey). Televisa contracted with IDC to provide the SFX Pro Cinema 3D Live encoders and decoders with SENSIO 3D technology on board, as well as consulting and professional services. IDC's long-standing partner in Mexico, Grupo Etercom, provided installation and support for the remote equipment including antennas for the event.

 

IDC was selected after a previous successful demonstration -- a preliminary trial run was held September 30 for the Americas vs. Toluca game. Televisa has a long history of technical leadership and innovation, including the first HD broadcast of this same event more than ten years ago.

 

IDC's SFX Pro Cinema 3D Live, with SENSIO 3D technology on board, has been installed in several networks around the world that have successfully broadcast more than 10 live events. It remains the only 3D live technology to be deployed and commercially operated in nation-wide networks in the US and Europe, allowing the event producers to maximize audience reach and potential revenue.

 

"We were very impressed with the performance of the IDC/Sensio solution during our trial and are pleased we were able to continue with proven technology for this extremely important event," said Elias Rodriquez, Televisa's Director of Operations.

 

"It was exciting watching soccer in the theatre with top quality video, sound, and graphics. It really comes alive. Above all, it was great to feel the energy of the audience as they were completely engaged in the game," said Diana Cantu, IDC's Executive Director of Business Development for the Americas. 

 

"We are extremely proud to have been selected by Televisa. With this event, the expansion of the SENSIO3D enabled digital network continues. We are getting closer to our objective of creating a worldwide network in order to be able to broadcast international 3D events simultaneously on multiple continents," said Nicholas Routhier, SENSIO's President and Chief Executive Officer.

 

About SENSIO Technologies Inc.:

 

Founded in 1999, SENSIO Technologies Inc., headquartered in Montreal, Canada, develops and markets forward-looking stereoscopic technologies designed to offer the most advanced and immersive cinematographic experience available. Its flagship technology, SENSIO3D, allows the high-quality distribution of 3D content through conventional 2D channels and playback on any display device, including plasma TVs, HDTV and glass-free 3D displays. Working with major Hollywood studios and large format 3D film producers, SENSIO has built up the one of the world's largest library of 3D movies for the home entertainment market.

 

International Datacasting Corporation (IDC):

 

International Datacasting Corporation, is a global leader in providing advanced solutions for the distribution of broadband content via satellite. IDC is at the forefront of delivering IP-based datacasting solutions via satellite and content distribution technologies with installations in more than 100 countries worldwide. IDC's products are in demand for radio and television broadcast networks, distance learning, digital signage, digital cinema, IPTV distribution and other content

distribution applications. IDC is headquartered in Ottawa, Canada, operates in Europe through its wholly owned subsidiary PROFline B.V. in Arnhem, the Netherlands and has an established international network of value-added partners and distributors.

 

Hollywood Theaters to Install Sony 4K Digital Cinema Projectors Across Its Circuit

http://www.2-pop.com/DigitalCinematography/article/88782

 

October 27, 2009

 

San Diego -- Hollywood Theaters is installing Sony Electronics' 4K digital cinema technology across its circuit. The Portland, Ore.-based exhibitor will begin its digital conversion by equipping 13 of its U.S. locations (167 screens) with Sony projectors over the next few months.

 

The 4K roll-out will also include 53 screens outfitted for 3D digital projection, combining Sony's single-projector 3D lens system with RealD 3D technology, enabling the exhibitor to deliver the highest-quality 2D and 3D digital projection.

 

Sony's Digital Cinema Solutions and Services group will work with Hollywood Theaters on the integration, installation, maintenance and service support for its 4K conversion, providing the exhibitor with a complete turn-key solution for converting to digital technology.

 

"Sony's 4K technology gives our patrons the opportunity to view motion pictures as never before, combining the highest levels of resolution, contrast and image quality to produce precise, life-like images in vibrant colors," said Clyde Cornell, chief operating officer for Hollywood Theaters. "We are also excited to be a part of Sony's DCSS alternative content program and plan to fully exploit their broad range of media and entertainment divisions such as sports, music, and gaming to bring fresh, innovative entertainment options to the big screen and create new streams of ancillary revenues for Hollywood Theaters."

 

Sony 4K projectors offer the highest image resolution of all commercial projection technologies, producing 8.8 million pixels. 4K technology provides image resolution four times greater than 2K projection systems and slightly more than four times greater than consumer high-definition televisions.

 

"Our 4K technology gives Hollywood Theaters the most reliable and flexible foundation for ultimately converting its entire operations to digital projection technology," said Mike Fidler, senior vice president of Sony Electronics' Digital Cinema Solutions and Services group. "It elevates the cinematic experience for their consumers, offering movie-goers a much more

dynamic, engaging and immersive entertainment experience. The opportunity for alternative content not only presents potential new business; it also allows them to provide exciting additional programming that perfectly complements their current offerings."

 

Warners inks digital screens deal

http://www.hollywoodreporter.com/hr/content_display/news/e3i834106c352ea86874a9b8c747e8500d3

 

Cinedigm has new funding pact with last major studio holdout

 

By Carl DiOrio

Oct 26, 2009, 03:00 AM ET

ORLANDO -- Everybody's finally on board.

Cinedigm Digital Cinema is set to announce Monday that Warner Bros. has inked a virtual print fee deal stipulating how the studio will help fund digital screen installations nationwide.

Warners is the last major distributor to pact with Cinedigm, a d-cinema integrator for circuits smaller than the U.S. big three.

Regal, AMC and Cinemark -- the nation's three biggest exhibition companies -- have VPF agreements with the major studios through another d-cinema integrator, Digital Cinema Implementation Partners.

Cinedigm still is seeking the kind of broad bank-community backing that DCIP has secured via a J.P. Morgan-led syndication. But with the protracted credit crunch finally easing, Cinedigm execs are confident that now-complete Hollywood support will attract bank interest.

Lenders' backing is needed to cover hefty upfront costs of the industry's much ballyhooed -- and recently stalled -- digital conversion. Studios will help repay such bank loans by contributing the equivalent of what they would previously have paid for film prints for several years after screens are converted to digital.

Cinedigm hopes install digital systems covering up to 10,000 movies screens in a second phase of its operations. A first phase of Cinedigm screen conversions implemented digital projection in more than 3,700 auditoriums.

"Cinedigm's success with its Phase One wide-scale deployment is unparalleled," Warners domestic distribution president Dan Fellman said. "Warner Bros. is proud to be Cinedigm's partner in their Phase Two program bringing more high-quality digital movies to theaters and their patrons across the U.S. and Canada."

Cinedigm chief Bud Mayor hailed Warners as a "strong proponent of the transition" to digital cinema.

"Their valued partnership is a keystone to helping us move ahead," Cinedigm president Chuck Goldwater added.

D-cinema and a related 3D digital rollout should figure prominently in presentations ShowEast, an annual exhibition confab that gets under way here Monday at the Orlando Marriott World Center.

 

Technicolor's 3D Format Lines Up 7 Studios, 37 Movies

http://www.thewrap.com/article/technicolors-new-3d-format-lines-7-studios-37-movies-9046

Paramount, Universal, Warners adopt film process that works with existing 35mm projectors.

By Wrap Staff

Published: October 22, 2009

 

Technicolor's new 3D process has lined up the support of seven studios that are actively developing films in the format, the company said Thursday.

Paramount, Universal, Warner Bros., DreamWorks Animation, Lionsgate, Overture and the Weinstein Company all have slated movies that will employ Technicolor 3D, the format unveiled last month that is compatible with existing 35mm cinema projectors.

Among the 37 Technicolor 3D movies in the pipeline for 2010 are "Shrek Forever After," "How to Train Your Dragon," "Piranha 3D,"  "Despicable Me," "Cats & Dogs: The Revenge of Kitty Galore," "Guardians of Ga’Hoole" and "Oobermind."

Frederic Rose, chairman and CEO of Thomson/Technicolor, said the format addresses the "3D gap" in theaters because no significant modifications are needed for the existing 35mm projectors in 90 percent of U.S. cinemas.

"The Technicolor 3D rollout substantially increases the 3D theatrical footprint, delivering to studios a larger platform for reaching masses of moviegoers," Rose said in a statement.

Technicolor also said Deluxe Entertainment Services Group would provide its customers with the postproduction and printing services to deliver films in the format.

 

What can I plug into a DCI projector + The future of streaming content in a cinema.

What can I plug into a DCI projector.

http://www.cinetechgeek.com/2009/10/20/what-can-i-plug-into-a-dci-projector/

 

Writing by jamieg on Tuesday, 20 of October , 2009 at 10:43 pm

This video is part 1 of 2.  Find the second half “The future of streaming content in a cinema.” here.

 

It has been a busy time for me.  I have been working on some new technology so my time to put into cinetechgeek has been limited.

 

I hope you find this video helpful.  The question of what can I plug into a DCI projector is a common one.  There are limitations.  In this video I cover what you can plug into a DCI projector.  But this is only the start.  Knowing what you can plug in, and actually programming a DCI projector to accept the type of signal are two very different and difficult issues.  This video covers the first issue.  I will make a video later to generally, considering the 3 different makes,  cover how to program the projectors.

 

This is a long video so I have broken it up into two sections. (Keep under 10 min so friendly with YouTube).  The second video is called “The future of streaming content in a Cinema”.  It covers new ways to move content around a cinema and a prototype of that technology.

 

Please enjoy this video, following is adjoining content mentioned in the video.

 

 

 

The future of streaming content in a cinema.

http://www.cinetechgeek.com/2009/10/21/the-future-of-streaming-content-in-a-cinema/

 

Writing by jamieg on Wednesday, 21 of October , 2009 at 7:20 am

 

This is the second part (Part 2 of 2).  The first half is called What can I plug into a DCI projector.

 

Following on from what we can plug into a DCI projector, in this following video I show you some technology my company “digitAll” is working on to answer the many issues associated with this issue.  It also answer the future trends of alternate content in the cinema and how to make it seamless to show streaming real time content on one or more screens with little effort and cost.

 

Cinedigm gets its digital moolah

http://www.hollywoodreporter.com/hr/content_display/news/e3icc3fec8640be471480a4873c492871f2#

 

Up to $100 million to fund installation of digital systems

By Carl DiOrio

Oct 28, 2009, 10:23 AM ET

Cinedigm has its digital moolah.

The d-cinema integrator has been hunting for financial-community backing of the sort earlier secured by Digital Cinema Implementation Partners, and on Wednesday execs announced agreements for five-year credit facilities from GE Capital and Societe Generale.

The facilities will provide up to $100 million to fund the installation of digital systems in more than 2,100 additional theater auditoriums.

A previous $500 million commitment form GE Capital helped roll out thousands of digital systems in circuits nationwide, with Carmike Cinemas a big beneficiary of that lending. Cinedigm customers have installed digital systems in more than 3,700 auditoriums to date, but the integrator -- and most of the exhibition industry -- have been treading water for the past year due to the protracted credit crunch.

The bank money lined up by Cinedigm and DCIP will cover upfront costs of the next phase of the industry's digital rollout. But Hollywood studios have agreed to pay down those loans over the next several years, with exhibitors themselves absorbing only a small portion of costs related to the move to digital projection.

Projector companies Christie and Barco will participate in Cinedigm's Phase Two rollout, once the GE Capital lending is finalized sometime in the fourth quarter.

GE Capital's commitment covers the financing of up to about 1,600 digital systems and Societe Generale's commitment covers the financing of up to an additional 533 digital systems.

Cinedigm CFO Adam Mizel called the new funding a milestone achievement that "will enable exhibitors to take advantage of the significant benefits of digital cinema."

Cinedigm gets its digital moolah

Up to $100 million to fund installation of digital systems

By Carl DiOrio

Oct 28, 2009, 10:23 AM ET

Cinedigm has its digital moolah.

The d-cinema integrator has been hunting for financial-community backing of the sort earlier secured by Digital Cinema Implementation Partners, and on Wednesday execs announced agreements for five-year credit facilities from GE Capital and Societe Generale.

The facilities will provide up to $100 million to fund the installation of digital systems in more than 2,100 additional theater auditoriums.

A previous $500 million commitment form GE Capital helped roll out thousands of digital systems in circuits nationwide, with Carmike Cinemas a big beneficiary of that lending. Cinedigm customers have installed digital systems in more than 3,700 auditoriums to date, but the integrator -- and most of the exhibition industry -- have been treading water for the past year due to the protracted credit crunch.

The bank money lined up by Cinedigm and DCIP will cover upfront costs of the next phase of the industry's digital rollout. But Hollywood studios have agreed to pay down those loans over the next several years, with exhibitors themselves absorbing only a small portion of costs related to the move to digital projection.

Projector companies Christie and Barco will participate in Cinedigm's Phase Two rollout, once the GE Capital lending is finalized sometime in the fourth quarter.

GE Capital's commitment covers the financing of up to about 1,600 digital systems and Societe Generale's commitment covers the financing of up to an additional 533 digital systems.

Cinedigm CFO Adam Mizel called the new funding a milestone achievement that "will enable exhibitors to take advantage of the significant benefits of digital cinema."

 

Cinedigm Digital Cinema Corp. Receives Commitment Letters for 5-Year, Senior Credit Facilities From GE Capital and Société Générale

http://today3d.blogspot.com/2009/10/cinedigm-digital-cinema-corp-receives.html

 

Cinedigm Digital Cinema Corp. ('Cinedigm') (NASDAQ: CIDM) today announced its non-recourse deployment subsidiary, Access Digital Cinema Phase 2 Corp. ('Phase 2'), has received commitment letters from GE Capital's Media, Communications & Entertainment business and Société Générale Corporate & Investment Banking for senior credit facilities totaling up to $100 million. Once closed, these facilities will support the deployment of up to 2,133 digital systems in 2010 as contemplated under Cinedigm's ongoing 10,000-screen digital cinema rollout.

Cinedigm anticipates the closing of this new loan facility, together with support from digital cinema equipment vendors Christie Digital Systems and Barco, Inc. (NYSE Euronext Brussels: BAR), by December 31, 2009 with installations targeted to commence in early 2010. GE Capital's commitment covers the financing of up to about 1,600 digital systems and Société Générale's commitment covers the financing of up to an additional 533 digital systems.

'We are excited to announce two significant financing commitments to support the transition of the exhibition industry to digital cinema,' commented Adam M. Mizel, CFO and Chief Strategy Officer of Cinedigm. 'We look forward to continuing the partnership we began with GE Capital and Christie in our Phase 1 deployments and welcome the opportunity to work more closely with Barco as well. We believe GE Capital's and Société Générale's commitments are a milestone and will enable exhibitors to take advantage of the significant benefits of digital cinema.'

Bud Mayo, Chairman and CEO of Cinedigm, added, 'Cinedigm has and will continue to be a key partner to exhibitors, movie studios, vendors and lenders in the digital conversion process. We look forward to the opportunity to work with exhibitors to deploy up to 2,133 screens with this financing in 2010. Given the pipeline of 3-D movie releases and alternative content, there has never been a better time to capitalize on the opportunities of digital cinema.'

Michael Rhea, Vice President, GE Capital, Media, Communications & Entertainment, commented, 'GE Capital is a long term supporter of the exhibition industry and of Cinedigm. We look forward to our future success together.'

Richard Knowlton, Managing Director, Leveraged Finance and Media, added, 'Société Générale is very pleased to play a key role in the continued deployment of digital cinema. Our partnership with Cinedigm reflects our long term belief in the merits of digital cinema and support of the innovative financial structure pioneered by the movie studios and Cinedigm.'

Both commitments by GE Capital and Société Générale Corporate & Investment Banking are subject to certain closing conditions, including the execution of loan documentation satisfactory to GE Capital, Société Générale and Cinedigm's Phase 2 subsidiary.

Cinedigm's Phase 2 subsidiary unit serves as the funding vehicle, administrator, and technology integrator for the company's 10,000-screen digital cinema rollout plan. Phase 2 will act as the administrator and financing intermediary between content-owners -- major studios and independent distributors, among others, equipment vendors and exhibitors who will receive turnkey, Digital Cinema systems in conformance with DCI specifications, including 2K DLP Cinema® projectors and related hardware and software. Since 2005, Cinedigm, through its Phase 1 and Phase 2 digital cinema subsidiaries, has participated in the installation of almost 4,000 digital cinema systems and has been contracted to install more than 450 systems in the coming months with Georgia Theatre Company and Great Escape Theatres. Cinedigm's Phase 2 has been selected as the integrator of choice by the National Association of Theatre Owners' Cinema Buying Group whose 600 plus members own more than 8,000 theatre screens around the United States.

 

BENQ HAS 6 NEW 3D READY DLP PROJECTORS ALREADY AVAILABLE - BUILD TO WORK WITH XPAND X102 DLP-LINK GLASSES

http://today3d.blogspot.com/2009/10/benq-has-6-new-3d-ready-dlp-projectors.html

BenQ has released 6 new DLP projectors on the market that are 3D Ready, meaning 3D DLP Link compatible (XpanD X102 active shutter glasses).

The six new 3D Ready models from BenQ are the standard throw MP626, MP670, MP776, MP777, and the ultra short-throw MP772 ST and MP776 ST. They are all with native XGA resolution or with other words 1024×768 pixels (4:3 aspect ration, not wide) with brightness ranging from 2500 do 4000 ANSI lumens.

 

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NEC Display Solutions announces three new digital cinema projectors

http://www.filmjournal.com/filmjournal/content_display/news-and-features/news/technology-and-new-products/e3ifc258f6318477ab036108d4c635a8546

 

Oct 26, 2009

 

CHICAGO - NEC Display Solutions of America, provider of commercial LCD displays and projectors, announced the introduction of three new digital cinema projectors, with three brightness level options to match screen sizes up to 105 feet wide. These affordable models, which meet DCI (Digital Cinema Initiatives) requirements, give more options to theater owners looking to upgrade cinema projector capabilities to digital.

The new projectors can be seen in Suite K at ShowEast 2009, the motion picture theater industry convention held Oct. 26-29 at the Orlando World Center Marriott in Orlando, Fla.

A new, optional NEC internal MediaBlock can be built into the projectors. In addition, NEC offers easy maintenance to minimize downtime through a single maintenance window for both projectors and the MediaBlock/Local Storage Server.. NEC also has created higher strict security and eliminated any potential trouble caused by the interface between the projector and existing screen server (sub-titles/communication problem). Alternatively, the Digital Cinema Projector Series works with existing cinema servers via a legacy board.

The new projectors include the NC1200C at 9,000 lumens of brightness for screen sizes of up to 46 feet wide, the NC2000C at 17,000 lumens for screens up to 65 feet wide, and the ultra-bright NC3200S at 31,000 lumens for screens up to 105 feet wide. The advanced DLP Cinema® light engine provides contrast ratios up to 2200:1, which enable better reproduction of detail in dark scenes.

The NC1200C, NC2000C and NC3200S will be available in early 2010. For more information about NEC's digital cinema projectors, please visit http://necdisplay.com/Products/SubClass/?subclass=Projectors.

 

Digital cinema still a work in progress

http://www.hollywoodreporter.com/hr/content_display/news/e3icc3fec8640be4714bccb7bb3307d04b2

 

Executives ask ShowEast attendees to have patience By Carl DiOrio Oct 27, 2009, 11:00 PM ET ORLANDO -- Execs seem almost embarrassed about the prospect of promising too much too soon regarding digital cinema. Too late. A decade into a planned industrywide conversion to digital projection, the effort remains a work in progress, with the protracted credit crunch reducing the rollout of d-cinema hardware to a snail's pace for the past year. That's also hampered the related introduction of 3D projection. But with the financial community finally beginning to rebound, d-cinema proponents here Tuesday politely asked exhibitors attending ShowEast to keep the faith. "The reason you do this is to add to your business," Bud Mayo, CEO of d-cinema integrator Cinedigm, said during a panel discussion. "It's not just to have cool technology up on your screens. We've seen the incremental increase in revenue that 3D allows." JPMorgan managing director Andy Sriubas said bankers helping integrators and studios to underwrite installation costs also want to see that "exhibition has some skin in the game." In an earlier round of digital installations, studios footed the bill almost 100%. Exhibitors seem OK with shouldering a modest portion of installation costs. In fact, some self-financed digital conversions as integrators waited out the credit crunch. "We didn't want to wait," said Henry McCalmont, who converted half of the six screens in his Mountain Home, Ark., multiplex to digital and added 3D capability to some. Art Gordon of AG Theatres also jumped quickly into digital and 3D for his two theaters in Guam. "I'm a believer," he said with a shrug. Even bigger exhibs have continued to convert a select number of screens. But the U.S. big three -- Regal, AMC and Cinemark -- have had to wait for Wall Street support before proceeding with more ambitious rollouts. "We're really ready to get going," said Travis Reid, CEO of big-three integrator Digital Cinema Implementation Partners. DCIP and JPMorgan recently went to market with a $525 million loan syndication to fund the rollout of 15,000 screen installations during the next several years. The bigger circuits already had marked considerable progress before the economic troubles set in. But digital screen counts can be confusing, as estimates by any three industryites are likely to yield at least four numbers. Consensus estimates put movie-quality installations at roughly 13,000-14,000 screens globally, with 6,500-7,000 auditoriums boasting 3D capability. In the meantime, with the industry's conversion to digital and 3D projection going so slowly, Technicolor recently came forward with a stopgap proposal: The film lab is pushing a newly developed format for film-based 3D projection. The film-processing giant today will demo the technology for exhibs here amid broad skepticism. Technicolor is positioning the system as a lower-cost alternative to digital 3D, but Cinemark International president Valmir Fernandes summed up sentiment among skeptics. "We don't like it," he told THR. "We think it's a step backward." A handful of studios have lent endorsements, but they are much more bullish on digital 3D, which eventually will do away with distribs' print costs. For exhibs, every theater operator who opts to go with the Technicolor system would be one less participant in so-called VPF plans, the virtual-print-fee agreements that studios have signed to fund the rollout of digital systems. The way such pacts are written, VPF terms are more generous to exhibs if more theaters participate in the conversions. Technicolor has yet to begin signing up theaters to its plan, so its ShowEast promos could prove key if its technology is to gain traction. But some industryites question even the notion of significant cost savings from film-based 3D. Certain kinds of 3D glasses will only work with polarized screens of the sort installed in digital auditoriums. So to avoid that $10,000-per-screen conversion cost -- and after all, low cost is the whole appeal of film-based 3D -- exhibs might have to absorb greater upfront costs to buy nondisposable 3D glasses of the kind required with nonpolarized screens. To overcome such concerns, Technicolor today will announce an initiative by three film-oriented companies to cover screen-conversion costs for the first 500 auditoriums outfitted with film 3D systems. Kodak, Fuji and Deluxe will contribute to the Silver Screen Fund, which will be managed by Technicolor. "Technicolor is committed to delivering high-quality, affordable 3D solutions, and the creation of the Silver Screen Fund accelerates our promise to our exhibition partners by helping them defer upfront costs associated with the purchase and installation of silver screens," Technicolor topper Lanny Raimondo said. ShowEast continues through Thursday at the Marriott Orlando World Center.

 

Cinedigm Announces Agreement With Overture Films for Content Delivery and Virtual Print Fees

http://investor.cinedigm.com/releaseDetail.cfm?ReleaseID=418750

Overture Supporting Cinedigm's Phase Two Deployment Program

MORRISTOWN, NJ, Oct 26, 2009 (MARKETWIRE via COMTEX News Network) -- Building on the strong relationship Cinedigm Digital Cinema Corp. (NASDAQ: CIDM) and Overture Films have shared since Overture's inception in 2007, the companies announced today an agreement through which Overture will support Cinedigm's Phase Two Digital Cinema Deployment Plan. The ten-year agreement commits Overture to release its feature movies in digital cinema format and to pay virtual print fees (VPFs) to Cinedigm when those features run on Cinedigm exhibitor partners' digital screens.

Cinedigm's Phase Two Digital Cinema Deployment Plan is designed to aid in the deployment of as many as 10,000 digital screens nationwide. Overture signed a similar agreement to participate in Cinedigm's Phase One Deployment Program and is a customer of both Cinedigm's distribution software and its satellite delivery services.

"Cinedigm continues to be a great partner for Overture Films in our effort to take advantage of the growing demand for digital features," said Kyle Davies, Executive Vice-President, Theatrical Distribution at Overture. "Digital cinema represents the industry's future. Overture is proud to work closely with Cinedigm to help make that future a reality."

"This agreement reinforces Overture's commitment to digital cinema," said Chuck Goldwater, President of Cinedigm's Media Services Group. "Overture has become a major player in the industry highlighted by movies from ambitious, creative moviemakers. It naturally follows that the Overture would continue to play a leadership role in the digital era."

To date, Cinedigm has contracted for and completed the rollout of nearly 4,000 systems in forty-one states with exhibitors including Atlas Cinemas, Allen Theatres, Carmike Cinemas, Celebration! Cinema, Cinema West, Cinetopia, Dickinson Theatres, Emagine, Galaxy Cinema, Georgia Theatre Company, Great Escape Theatres, Marquee Cinemas, Krikorian Premiere Theatres, MJR Theatres, Neighborhood Cinema Group, Premiere Cinema Corp., Rave Motion Pictures, Showplace Cinemas, UltraStar Cinemas, and Cinedigm's own Pavilion Digital Showcase Theatre. Its Phase Two plan aims to provide networked, turnkey Digital Cinema systems, in conformance with DCI specifications, for up to an additional 10,000 screens.

About Cinedigm

Cinedigm is the leader in providing the services, experience, technology and content critical to transforming movie theaters into digital and networked entertainment centers. The company is a technology and services integrator that works with Hollywood movie studios and exhibitors to bring movies in digital cinema format to audiences across the country. Cinedigm's digital cinema deployment organization, software, unique combined satellite and hard drive digital movie delivery network; pre-show in-theater advertising services; and distribution platform for alternative content such as CineLive(R) 3-D and 2-D sports and concerts, thematic programming and independent films provide a complete suite of services required to enable the digital theater conversion. www.cinedigm.com [CIDM-G]

ABOUT OVERTURE FILMS

Overture Films (www.overturefilms.net) develops, produces, acquires, and distributes feature length, theatrical motion pictures worldwide. The studio is a wholly owned unit of Starz Media, a controlled subsidiary of Liberty Media Corporation attributed to the Liberty Capital Group (NASDAQ: LCAPA, LCAPB), a tracking stock group of Liberty Media Corporation. Its affiliated companies, Anchor Bay Entertainment and Starz Entertainment, make the films available domestically to viewers via home video, premium television, Internet and other outlets.

 

Texas Instruments DLP Cinema Enhances Movie Going Experience With More

http://today3d.blogspot.com/2009/10/texas-instruments-dlp-cinemar-enhances.html

DALLAS, Oct. 26 /PRNewswire-FirstCall/ -- Texas Instruments (TI) (NYSE: TXN) DLP Cinema®, recognized as the leader of 3D projection technology, today announced reaching the milestone of over 14,000 global theatre installations with over half powered by DLP Cinema 3D projection technology. The growing availability of digital 3D movies continues to serve as a catalyst for the adoption of digital cinema installations. With multiple 3D releases coming to theatres at the same time, demand among exhibitors for 3D installations will likely continue to increase, hailing 3D as one of the most important technical innovations since the advent of color.

(Logo: http://www.newscom.com/cgi-bin/prnh/20091026/DA98251LOGO)

This winter, DLP Cinema honors its heritage of providing the ultimate viewing experience with DLP Cinema projection solutions enabling theatres to showcase the highly anticipated motion picture epic "Avatar," from Twentieth Century Fox and "Titanic" director James Cameron.

"DLP's cutting edge technology will play an important role in bringing 'Avatar' to life for moviegoers around the world," said Bruce Snyder, Fox's president of domestic distribution. "The much-anticipated release of 'Avatar' will continue to bring attention to the contributions DLP Cinema has provided to the industry."

During the filming of "Avatar," DLP projectors were used for real time viewing of the footage being shot. Additionally, Cameron and his production company, Lightstorm Entertainment, used DLP Cinema projectors during the post production to provide superior contrast ratios, color calibration and sharp 3D imagery. DLP technology will be counted on again when "Avatar" the movie premieres in December 2009; it will be shown on DLP Cinema projectors in movie theaters worldwide.

"Eight years ago Lightstorm and DLP Cinema started working together to bring 3D imagery to life," said Geoffrey Burdick, vice president for production service and technology for Lightstorm Entertainment. "Thanks to this collaboration, audiences can now experience in the theaters 3D like they never have before."

Exhibition houses utilizing projectors from DLP Cinema's three OEM licensees (Barco, Christie Digital and NEC) provide the capability to light up theatre screens as big as 100 feet and 3D screens as big as 75 feet, which has typically been a challenge for competing technologies. Furthermore, DLP Cinema recently announced plans to incorporate enhanced 4K technology as an extension of the next generation electronics platform for DLP Cinema projectors which integrates multiple 3D platforms for live 3D broadcasting.

"This year, DLP Cinema celebrated its fifth anniversary of enabling 3D through the use of the DLP Chip," said Nancy Fares, business manager for DLP Cinema®, Texas Instruments. "DLP Cinema continues to be the industry standard for digital image quality and we remain committed to supporting the motion picture industry to bring onscreen stories to life through immersive experiences."

DLP Cinema projection technology is installed on every continent except Antarctica. Today there are more than 7,000 worldwide screens that offer digital 3D with the use of every pixel array in the frame for the brightest picture unlike other technologies. Since last year's introduction, IMAX® digital projection systems powered by DLP Cinema projectors have reached a total of 88 locations worldwide.

About Texas Instruments DLP Products

DLP display technology from Texas Instruments offers clarity down to the most minute detail, delivering pictures rich with color, contrast and brightness projectors for business, home, professional venue, digital cinema (DLP Cinema®) and large screen HDTVs. Many of the world's top projection and display manufacturers design, manufacture and market products based on DLP technology. DLP is the only imaging technology with a legacy in digital cinema where it set the industry standard demonstrated by the deployment of DLP Cinema technology in over 14,000 screens worldwide. At the heart of every DLP chip is an array of up to 2.2 million microscopic mirrors which switch incredibly fast to create a high resolution, highly reliable, full color image. DLP technology's chip architecture and inherent speed advantage provides razor-sharp images and excellent reproduction of fast motion video. Since early 1996, more than 20 million DLP subsystems have been shipped. For more information, please visit www.dlp.com.

 

XPAND and Scrabble Entertainment Pvt. Ltd. Sign India's First and Largest 3D Cinema Deployment Agreement.

http://today3d.blogspot.com/2009/10/xpand-and-scrabble-entertainment-pvt.html

Mumbai, India, 27 October 2009 - XPAND, a worldwide authority in 3D cinemas and technology platforms, has embarked upon one of its most strategic partnership’s to-date by entering into a non-exclusive agreement with Scrabble Entertainment Pvt. Ltd., India’s leading company in digital conversion, as the 3D provider targeting a roll-out of 100 screens with the first phase commencing November 2009.

Both companies have experienced tremendous milestones during the digital deployment and with Scrabble Entertainment’s solidified Virtual Print Fee (VPF) model in place it has allowed even greater expansion into various territories throughout India, while endorsing the strong Hollywood movement of the 3D experience. By financing the exhibitor’s transition to the digital format, it has secured the studios commitments to provide both 2D/3D content and the forecasts to install over 200 systems annually will prove to be a natural succession into 3D. The partnership endorses XPAND’S reputation as the dominant 3D leader in the Asian continent, and validates the progressive vision of Scrabble Entertainment, which signifies the company’s efforts in accelerating the economic values through film entertainment mediums.

Mr. Ranjit Thakur, CEO, Scrabble Entertainment says, “The XPAND system provides complete flexibility for the exhibitors. It’s the best value for money system out there considering that the exhibitors can maximize their revenue potential every time. We are proud to partner with a company like XPAND.”

“This, by far, has been one of our most exciting announcements as the first 3D company to penetrate India’s digital marketplace, with such an esteemed and well-recognized group as Scrabble Entertainment” says Maria Costeira, XPAND’S CEO. “We intend to demonstrate and maximize the XPAND 3D brand by introducing India to our advanced, cutting-edge active technologies while providing an entirely new concept and, for many movie patrons, delivering the 3D experience for the very first time.”

Mohammad Ahmadi, President of Technology & Operations for Asia, contributes that “Our goal of partnering with a very capable, prominent and aggressive regional deployment entity was met when XPAND and Scrabble Entertainment entered into this partnership. I am very pleased to add Scrabble Entertainment to a list of great partners we have on this continent.”