Digital heads east: China, India and Korea lead the conversion race

http://www.filmjournal.com/filmjournal/content_display/news-and-features/features/technology/e3ie595ec28836e2d88906590c40d364f28

 

http://www.filmjournal.com/filmjournal/content_display/news-and-features/features/technology/e3ie595ec28836e2d88906590c40d364f28

Nov 24, 2009

-By Bill Mead, Digital Cinema Editor

Following the lead of the U.S. and European markets, in 2009 digital conversions in much of Asia continue to inch forward, propelled largely on a screen-by-screen basis as justified for specific 3D titles. Broad-based 2D conversions are being held back by their expense, coupled with the weak economy. The exception is China, where the government-supported conversion program continues. In addition, India, Korea and Japan have active conversion programs in progress or being planned.

In China, projector manufacturer Barco announced in mid-2009 that it had completed its 1,000th digital-cinema projector installation. With an early start, Barco claims a market share of more than 80% of the equipped screens. Barco has been working closely since March 2007 with Singapore-based server manufacturer GDC Technology. GDC has secured virtual print fee (VPF) agreements with five studios (Sony Pictures, Disney, Fox, Universal and Paramount) and expects these agreements will accelerate the conversion of up to 6,000 cinemas across Asia.

Barco announced in 2006 a major commitment with Dadi Digital Cinemas. Recently, major deals with Chinese exhibitors like Jinyi Zhujiang Movie Circuit Co., Hengdian Entertainment Co., Ltd. and the China Film Group were announced for another 200 systems.

“With the largest number of installations, which is way ahead of its nearest competitor, GDC and Barco are the undisputed leading digital-cinema solution providers in China,” said Mr. Xu Tianfu, general manager of Hengdian. “We have great faith in GDC and Barco’s vast experience and proven track record, and it is the clear choice for our deployment program.”

Christie’s digital-cinema expansion in China has gathered momentum since 2008, largely as a result of their projectors being used during the Olympic Games. Christie is enjoying digital-cinema growth of more than 400% in the Asia/Pacific region. To date, more than 600 sites in the region have installed Christie digital-cinema projectors, with an additional 500 sites scheduled for conversion by the end of this year.

Working with Beijing Time Antaeus Media Tech. Co., Ltd., Christie provided 120 Christie CP2000-ZX projectors. After the games, these projectors were installed in Time Antaeus’ theatres across China as part of the country’s film-to-digital conversion. With plans to install 800 projectors in select cinemas by the end of 2010, these projectors will be installed with Time Antaeus’ own DCI-capable Montage CDCS2000 servers, jointly developed with Doremi Cinema. The Montage CDCS2000 includes a Theatre Management System (TMS) to allow remote content programming and management and can be remotely monitored by a network operations center.

According to Christie, the pilot test of the 120 projectors has proved to be a tremendous success. Since starting operations, they have experienced “zero” failure rates, offering users a high level of stability. The systems are installed with 3D systems from Dolby 3D, MasterImage, RealD and XpanD. In addition, China’s renowned Shanghai Film Group Corporation and Lianzhong have also selected Christie exclusively for their respective nationwide digital-cinema rollout plans.

Also in China, NEC has been rapidly expanding its Asian cinema business with a commitment from the China Film Group to purchase 160 of its NC1600 digital projectors. The agreement follows an initial 100-projector order that was completed during the spring of 2009. USA-based Ballantyne Strong, Inc. announced that its Strong Westrex China subsidiary has been selected to provide and install the 160 NEC projectors in locations across China. Strong Westrex China expects to ship and install up to half the systems in 2009, with initial shipments anticipated as early as Q3, and expects to ship and install the remaining projectors in 2010.

In India, Scrabble Entertainment Pvt. Ltd. was formed in November 2007 with the vision to provide a 2K DCI-grade release platform to Indian and Hollywood studios. As India’s leading deployment entity, Scrabble has the goal of converting around 200 screens annually until every multiplex in the country is equipped. The company has already contracted with India’s leading exhibitors, producers and distributors, and under a VPF business model, Scrabble plans to finance India’s transition to digital by collecting a negotiated fee from distributors and producers. In this capacity, Scrabble will act as the intermediary between the major studios and distributors and India’s vast number of cinema chains and independent exhibitors.

Scrabble announced its Hollywood alliance in March 2009, and has signed nonexclusive agreements with all the major studios which include Twentieth Century Fox, Warner Bros., Walt Disney Studios and Paramount Pictures, Universal Pictures and Sony Pictures. The presence of digital screens will make it easier for film fans in India to enjoy more movies in 3D, which is fast becoming a popular medium. Scrabble is also looking to showcase alternative content and digital advertising.

Ranjit Thakur, CEO of Scrabble Entertainment declares, "We are in process of changing the way movies are shown in India. Going 2K digital is a revolutionary change for the exhibitors in India and the patrons love the experience.”

Thakur believes that the digital release will help both Indian and Hollywood distributors maximize their revenues by providing a much wider day-and-date release and flexibility in show placement at a reasonable cost. The digital transition will also help Hollywood studios release more 3D titles and will also help reduce the effects of piracy from the Indian entertainment sector, which according to the U.S.-India Business Council brings an estimated loss of four billions U.S. dollars per year.

Hollywood contributes less than 10% of the Indian box office, but the percentage is expected to increase in the future. Industry experts feel that there is potential for Hollywood films to rise to over 20% of the Indian market, and certainly going digital with more day-and-date releases is one of the ways for them to get there.



Currently, all the multiplexes in the eight top cities of India collect over 75% of the total Indian box-office collection. By virtue of DCI and JPEG2000 technology, the theatres are happily adapting to the solution that Scrabble offers. Scrabble is pleased with the success they have achieved in a short span of one year.

Christie continues its close collaboration with Scrabble as the preferred projector vendor. So far, Christie has delivered over 200 projectors for Scrabble’s deployment. Christie projectors are now installed in theaters owned by PVR Cinemas, Fame Cinemas, INOX and Fun Theatres across the country.

XpanD, the leader in active-glasses technology, has also entered a strategic partnership with Scrabble targeting a rollout of 100 XpanD 3D screens beginning this November.

Thakur believes that 3D will catch on with Indian audiences depending on the merit of the content. Also, Scrabble is working with Bollywood production houses to create regional and Indian 3D titles.

Scrabble plans to install at least 200 systems each year, so by the end of 2010 there should be 400 screens spread across 40 different sites, each with at least one or two 3D screens. The sites with digital installations have been identified with plenty of marketing materials, so that audiences are aware of the quality differences between them and their analog competitors. Digital has been well-received by the Indian patrons and they recognize the difference in quality. Theatre management also loves the flexibility of shows which the digital platforms provide.

South Korea is in a tight race to become the first fully digitized country in the world. South Korea-based D-Cinema Korea Co. Ltd (DCK), the joint-venture company established in 2008 by CJ CGV and Lotte Cinema, has also announced its own VPF deals with Paramount, Fox and Universal that will launch the deployment of up to 2,000 Korean screens. For the initial deployments, DCK has selected Christie CP2000 series projectors and Qube XP-D servers. It is expected that almost 400 of Korea’s screens will be digital by the beginning of 2010.

Japan has more than 200 DCI-capable systems installed, primarily as a result of the recent flow of 3D titles. Broad conversion plans are being considered by various companies where there is interest in securing VPF studio support that should move things along faster.

Most of the progress in Japan is being driven by one company, T-Joy Ltd., an entertainment organization specializing in the operation of multiple chains as well as the financing and development of digital content. Founded in August 2000 in a partnership with the Toei Company, T-Joy launched as Japan's first multiple digital-cinema complex in Hiroshima.  According to T-Joy’s CEO Naoshi Yoda, T-Joy has taken an early lead in Japanese digital cinema and introduced an innovative theatre environment and new dimension of choice to the moviegoers. “We call the next generation in the movie industry an ‘entertainment complex’ and focus on promoting digital cinemas, improvement of digital film technologies and expanding the new and existing digital content.”

Aside from its main operation as standard multiple theatres, T-Joy provides its audiences with various alternative content, such as football matches, extreme sports, musicals, rock concerts, TV programs and many other forms of both real-time and pre-recorded events via digital data-transmission systems.

T-Joy currently owns 119 screens at 13 sites, of which 43 screens are currently equipped with DCI-grade digital projectors. Fourteen of these are equipped with 3D. With two new multiplexes opening in Yokohama and Kyoto, T-Joy will operate a total of 68 digital screens by spring 2010. For the future, T-Joy is planning only fully digital sites, with at least two 3D screens per site. T-Joy has also signed agreements with Sony to add screens featuring Sony’s 4K projectors beginning next July. T-Joy through their subsidiary company, Laterna Co., has also made a joint venture with Korea’s CJ Entertainment for future investments and the distribution of Korean digital titles in the Japanese market.

The rest of Asia, specifically, Thailand, Taiwan, Singapore and the Philippines, is deploying digital equipment as needed to take advantage of the increased 3D revenues. In these cases, most exhibitors are self-funding their own conversions or working in conjunction with one of the vendors or deployment entities that have secured studio-approved VPF plans.

Down Under, exhibitors in Australia and New Zealand have installed enough 3D systems to support the current Hollywood 3D movie slate and key exhibitors, specifically Hoyts, Greater Union, Village Roadshow and Reading, are finalizing their own VPF plans. It is expected that over 300 digital systems will be in place by the beginning of 2010, with a full rollout beginning mid-2010.

 

Reel Cinemas to Get Digital and Satellite with Arts Alliance Media UK Screens Sign Up to AAM's Virtual Print Fee Digital Rollout

http://www.dcinematoday.com/dc/PR.aspx?newsID=1605

 

London, UK—Nov 17, 2009

Arts Alliance Media (AAM) – Europe’s leading provider of digital cinema technology, content and deployment – today announced they have signed an agreement with Reel Cinemas to digitise Reel’s entire circuit in the UK. The Virtual Print Fee (VPF) based deal covers all 60 of Reel’s screens throughout the country, across 15 sites, as well as 60 affiliated screens programmed by Reel's programmer, Steve Reynolds.

The installation of digital equipment is scheduled to begin immediately. In addition the deal also covers the installation of 3D in 20 screens, meaning there will be at least one 3D screen in each site, to take advantage of next year’s slate of around 15 3D releases.

Arts Alliance Media will also be providing satellite systems for each of Reel’s 15 sites, in conjunction with satellite partner Arqiva Satellite & Media. This will allow the cinemas to show live alternative content, such as opera, sports and music concerts, and also to receive feature and trailer content via satellite. AAM’s Digital Cinema Network Software will also be deployed, allowing sites to efficiently manage their digital content and equipment, and for AAM to monitor and maintain the network and equipment remotely.

Howard Kiedaisch, CEO of Arts Alliance Media, said of the deal “We’re delighted to announce this deal with Reel Cinemas. The decision to go digital and 3D means that their sites will be able to offer all the benefits of digital to their patrons across the UK. The addition of another cinema chain to AAM’s rollout is a great vote of confidence as the European conversion to digital really begins to build momentum.”

Reel Cinemas’ Managing Director, KC Suri, added “Reel Cinemas is very happy to be entering into association with Arts Alliance Media, and we’re looking forward to this next stage in our ambitious expansion plans. We’re committed to giving all our customers the ultimate cinema experience, and so to be able to now offer them cutting edge digital, satellite and 3D is great for us, and great for the communities we’re based in.”

Reel Cinemas is one of the UK’s fastest growing cinema chains, focussed on creating cinemas geared towards a local community audience, with town centre sites and the latest technology and targeted programming for customers.

Arts Alliance Media’s digital network currently covers 6 European territories and has installed over 650 digital screens to date.

 

Arts Alliance to digitize U.K.'s Reel Cinemas

http://www.filmjournal.com/filmjournal/content_display/news-and-features/news/cinemas/e3idaa6fa5c7cf9caac0d10753fa6fff0ba

 

Nov 19, 2009

Arts Alliance Media (AAM) signed an agreement with Reel Cinemas to digitize their entire circuit in the U.K. The Virtual Print Fee-based deal covers all 60 of Reel’s screens throughout the country, across 15 sites, as well as 60 affiliated screens programmed by Reel's programmer, Steve Reynolds.

The installation of digital equipment is scheduled to begin immediately. In addition, the deal also covers the installation of 3D in 20 screens, so that there will be at least one 3D screen in each site.

Arts Alliance Media will also be providing satellite systems for each of Reel’s 15 sites, in conjunction with satellite partner Arqiva Satellite & Media. This will allow the cinemas to show live alternative content such as opera, sports and music concerts, and also to receive feature and trailer content via satellite. AAM’s Digital Cinema Network Software will also be deployed, allowing sites to manage their digital content and equipment, and AAM to monitor and maintain the network and equipment remotely.

Arts Alliance Media’s digital network currently covers six European territories and has installed over 650 digital screens to date.

 

Cinemark, Imax Sue over XD

http://www.digitalcinemareport.com/Cinemark-Imax-lawsuits-XD-theatres

Submitted by Nick Dager on Fri, 11/20/2009 - 12:16.

·         Feature Stories

·Guest Column

By James Hyder


Cinemark USA and Imax Corporation have filed lawsuits against each other over Cinemark's XD digital theaters. Cinemark, the third largest theater chain in the U.S., filed a suit on November 4 seeking to invalidate two patents Imax holds on "Conversion of a Cinema Theater to a Super Cinema Theater." Imax countered on November 12 with a complaint that alleges fraud, breach of contract, misappropriation of trade secrets, and tortious interference, and seeks an injunction to prevent Cinemark from "producing, using, and selling its XD system."



Cinemark's case, filed in the U.S. District Court for the Eastern District of Texas, was sparked by an October 26 telephone conversation and subsequent e-mail exchange between Rob Lister and Mike Cavalier, general counsels for Imax and Cinemark respectively, on the subject of Cinemark's new premium digital theaters.

Barely a week after Cinemark's case was filed Imax initiated its own action in the Supreme Court of the State of New York, county of New York. Imax's suit does not allege patent infringement, but calls Cinemark "an inveterate tortfeasor and a faithless contract party," and claims that the exhibitor used its relationship with Imax to "create an unauthorized reproduction of the trademarked Imax Experience." It alleges that Cinemark approached Hollywood studios to promote its XD theaters, "referring disparagingly to Imax as, among other things, the 'middleman' that needs to be 'eliminated.'" 



Imax also claims that in 2008 Cinemark asked for a list of possible locations for additional Imax theaters and was given a list of twelve such sites. Imax states that it "held back from leasing Imax theaters in certain of those markets to other customers," only to find that this year Cinemark has made plans to install XD theaters "at eight of the very locations identified by Imax." 


In addition to the injunction against further XD theaters, Imax seeks punitive and compensatory damages "in an amount to be determined at trial."



Last April Cinemark launched a premium digital cinema brand, known as XD (formerly XD3), featuring theaters with screens up to 38 by 70 feet (12 by 21 meters), custom JBL sound systems, and high-output 3D-capable Barco digital cinema projectors. The chain has opened ten XD houses to date, with four more to be rolled out by the end of the year and as many as 100 expected over the next few years.

As is the case at most multiplex Imax theaters, Cinemark charges a three-dollar premium for XD over its standard ticket price. Unlike Imax, the XD system allows the exhibitor to show virtually any movie it chooses, not only those that Imax Corp. has converted with its DMR process. And of course, Cinemark keeps its full share of the box office receipts, unlike Imax's joint-venture theater partners.



Eric Wold, an analyst for Merriman Curhan Ford who has long followed Imax, thought Cinemark XD posed enough potential competition to Imax that he downgraded Imax shares from buy to neutral on September 18.

The two Imax patents at issue are both entitled "Conversion of a Cinema Theater to a Super Cinema Theater." The first, US 7,106,411, was issued on September 12, 2006, and the second, US 7,595,860, was issued on September 29, 2009. The first claims methods for enlarging and moving a theater's projection screen and improving the "fidelity" of the projected image over the previous system. The second specifies enhancements to the theater sound system. For more details on the first patent, see What is 'Immersive'?. 


The basic requirements for a U.S. patent are 1) that the invention not have been in public use or publicly described at the time of invention or for more than one year before the application was submitted (the novelty condition), 2) that it not be obvious to "a person having ordinary skill in the art" in question (non-obviousness), and 3) that the description of it in the patent application be precise enough to enable it to be made and used by anyone skilled in the art (specification). Cinemark's complaint alleges that the Imax patents fail on all of these conditions.

Alleged patent infringers can ask the U.S. Patent and Trademark Office to re-examine patents and declare them invalid. Alternatively, a civil suit that is decided in favor of the alleged infringer has the effect of invalidating the patent in question. In both situations the patent holder can appeal, and usually does. As the middle of November, Cinemark had not filed for re-examination of Imax's patents.



The Eastern District of Texas, where Cinemark is located, and where it filed its suit, is a favored venue (a "rocket docket") for patent infringement cases because judges there have shown a preference for them and because its juries tend to make large awards, according to Sean J. O'Hara, an attorney at Snell & Wilmer in Phoenix, Arizona.

Imax's filing complains that the district is "a forum in which the parties had agreed not to litigate," adding that its claims are based on "common law causes of action…and arise from Agreements that contain New York State choice of law and forum selection provisions."



The vast majority of infringement suits — 85 percent or more — are settled out of court in less than a year. Cases that go to court are more time consuming and expensive. In a 2007 study, Paul Janicke of the University of Houston Law Center found that the median cost for cases involving more than $25 million was $4.5 million for each party. With annual revenues of $1.8 billion, Cinemark would appear much more capable of bearing legal expenses than Imax, whose annual gross revenue has averaged $135 million over the past ten years.



James Hyder is the editor and publisher of the LF Examiner. This article was first published in the November 2009 issue of LF Examiner. (C) 2009 by Cinergetics, LLC. All rights reserved. The article is used by permission.

 

Hollywood Theatres to Install Sony 4K Digital Cinema Systems

http://www.digitalcinemareport.com/Hollywood-Theatres-Sony-4K-digital-cinema-systems

Submitted by Nick Dager on Fri, 11/20/2009 - 12:20.

·         Distribution & Exhibition

·News Stories

Hollywood Theaters is installing Sony Electronics' 4K digital cinema technology across its circuit. The Portland, Oregon-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.

"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," says Hollywood Theaters chief operating officer Clyde Cornell. "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."

"Our 4K technology gives Hollywood Theaters the most reliable and flexible foundation for ultimately converting its entire operations to digital projection technology," says Sony Electronics' Digital Cinema Solutions and Services group senior vice president Mike Fidler. "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."

 

Kinepolis Group Choose SmartJog Servers

http://www.digitalcinemareport.com/Kinepolis-SmartJog

Submitted by Nick Dager on Fri, 11/20/2009 - 12:42.

·         Distribution & Exhibition

·News Stories

European exhibitor Kinepolis Group has selected SmartJog's Digital Cinema Central Library Servers to use in all of its 23 theaters.  Kinepolis will purchase and install the Digital Cinema Central Library Servers, which are capable of storing large amount of content as well as receiving Digital Cinema Packages (DCPs) via satellite and fiber.

"Kinepolis has been using the SmartJoj system a few years now to receive advertising content from Médiavision, well as cinema trailers which are digitally sent via the SmartJog network to our Cinemas in France," says Bob Claeys, research and development director for Kinepolis Group.  "Since we are actively rolling-out digital equipment in all of our Cinemas in France, Belgium and Spain, it was essential for us to find a solution capable of scalability in terms of storage and digital delivery."

Claeys says, "Therefore, we have opted for the SmartJog "all-in-one" solution of high-end storage and digital delivery solution. Since it's already compatible with the equipment in our cinemas such as our Dolby servers, the SmartJog Central Library allows us to store content received in our multiplexes without the need to add multiple reception and storage equipment. The flexibility of the SmartJog solution also lets us manage the delivery of our own promotional content to all of our cinemas in Europe seamlessly."

By the beginning of 2010, all of Kinepolis Group Cinemas will be equipped with the SmartJog 12 or 8 terabyte Central Library servers and will benefit from SmartJog's fully managed digital delivery service. With this announcement, SmartJog is proud to announce that it has now connected 537 screens in Europe.

Kinepolis 
http://corporate.kinepolis.com/
SmartJog 
www.smartjog.com

 

Some theaters trapped in 2nd dimension by credit freeze

http://www.usatoday.com/tech/news/2009-11-20-3D20_ST_N.htm

 

 

November 20, 2009

By David Lieberman, USA TODAY

 

Hollywood executives likely will credit director James Cameron if his megabudget sci-fi film Avatar strikes gold for Fox next month.

 

But there's a ready scapegoat if it disappoints: When the credit markets froze more than a year ago, banks and other lenders didn't invest in the digital-projection technology needed to show films in 3-D. That was a setback for Avatar, which was designed to showcase 3-D's artistic potential.

 

TELL US: Do the movie theatres in your area offer 3D technology?

 

The film should appear in 3-D domestically on nearly 3,500 screens, Fox distribution chief Bruce Snyder guesses. "They're still putting (3-D systems) in as we speak," he says.

But Cameron hoped for 5,000 screens two years ago. The movie will also run in conventional 2-D.

 

The shortfall means that "people may have to wait until the second or third week to see it (in 3-D) at a theater near them or ...drive a little further," says Bud Mayo, CEO of digital cinema services firm Cinedigm.

 

All eyes will be on Avatar's ticket sales. It will show whether "there's something for 3-D beyond animation and PG films," says SNL Kagan analyst Wade Holden.

 

Studios and exhibitors bickered for years about who should pay for digital projectors that cost as much as $100,000 per screen, Mayo says. It takes as much as $40,000 more for tweaks and software to handle 3-D.

 

That could add up to tens of millions of dollars to equip large theater chains. "Not many theater operators have that much dry powder," says GE Capital Vice President Michael Rhea.

 

Studios agreed to pay the bulk of the costs: They could save $1 billion a year by distributing movies on small hard drives instead of large reels of celluloid. Distributors pay a fee for each digital film.

 

The cash goes to lenders who buy digital projectors and lease them to theaters.

 

But when the credit markets froze, lending for digital cinema slowed to "a trickle," Mayo says.

 

Digital Cinema Implementation Partners – a studio and theater-backed consortium – is struggling to raise $525 million to bring digital projection to about 15,000 screens.

 

"They keep telling us it's expected to happen any day," Snyder says. DCIP did not return calls for comment.

 

But Cinedigm just raised $100 million from GE Capital and Société Générale for 2,100 digital systems.

 

If that continues, ticket sales will be "more in line with what studios anticipated when they put (3-D) films into production," says Imax CEO Richard Gelfond.

Katzenberg sees 3-D movie revolution in scalable chips | Entertainment | Industry | Reuters

http://today3d.blogspot.com/2009/11/katzenberg-sees-3-d-movie-revolution-in.html?utm_source=feedburner&utm_medium=email

 

Animated 3-D movies will soon be made cheaper, faster and more vividly with a new generation of computer chips that can crunch huge amounts of data faster than ever, DreamWorks Animation SKG Chief Executive Jeffrey Katzenberg said this week.

Katzenberg, one of the first studio chiefs to embrace 3-D animation in films like 'Monsters vs Aliens', told Intel Capital's CEO Summit in Huntington Beach, California that he is even more excited about the creative potential of this 'scalable multi-core processing'.

'Ten years from now I think this will be a tipping point for how we view entertainment and how entertainment views the world,' he said of the chips, which are still in development.

Katzenberg gave attendees at the conference sneak peeks at footage from DreamWorks Animation's upcoming 3-D films 'How to Train Your Dragon' and 'Shrek Forever After'.

He also screened eye-popping sports footage on 3-D-enabled television that he predicted would be in 30 percent of US households by 2013, with early adoption spurred by sports and video games.

Limited processing power for 3-D films has forced animators to work in an assembly line-type fashion, with characters' faces, bodies, clothing and fur or hair animated by a different artist. Each film requires four years and 400 artists to make, Katzenberg said at a presentation.

BACK TO PENCIL AND PAPER

The new chips will allow artists to return to performing their craft as expressively as they did in the days of pencil and paper, Katzenberg said. 'We can envision a day when animators will be able to work on their characters at full resolution and not in pieces.'

He did not comment on whether the new technology would result in job cuts. 'We really don't know yet what the impact on cost and workforce will be,' he said.

Intel Corp has been improving its multi-core chips, and Katzenberg's vision could be fulfilled within the next few years.

Essentially, each core handles two 'threads' at a time, meaning it can handle two tasks. Intel has been multiplying the number of cores in a single chip -- the 'scalable' of his description -- increasing the number of tasks an individual chip can perform.

That increases the speed and lowers the cost of computing the repetitive tasks that form a large part of animation.

Other companies have taken their own approaches to visual imaging, including Nvidia Corp and ATI, a division of Advanced Micro Devices.

Experts say this inevitably will lead to more power for individual users, making it possible for independent film makers to play a larger role in a field that until now has required legions of workers to add special effects and animation."

 

3D Remains a Gimmick

http://www.tvtechnology.com/article/90356

11.13.2009

NEW YORK:
If the trend of 3D movie releases is any indication, 3D will not be a huge game changer. That’s the assessment of Pali Research’s Rich Greenfield.

“While we did not intend to be the ‘3D Scrooge,’ we are increasingly skeptical that 3D will fundamentally alter the exhibition industry,” Greenfield wrote in his blog at Pali. “In most cases, 3D still appears to be a gimmick to get consumers to a theater to see a particular movie. Unfortunately, similar to 2D movies, most movies are only fair at best--story still matters far more than technology.”

On top of the movies being lousy, people are having to pay, on average, a $3 premium for 3D movies.

“We simply wonder if the 3D premiums are truly sustainable, if the level of content does not improve notably,” he wrote.

Greenfield said Disney’s 3D version of “A Christmas Carol,” release over the weekend, brought in just $30 million at the box office, “well below the levels most expected,” but more than the studio’s previous 3D release, “Bolt,” which did $26 million on opening weekend. Disney’s “GForce,” also offered in 3D, did $32 million during its summer opening weekend.

“While it may be too early to deem ‘Christmas Carol’ a write-down,” as was Disney’s 2002’s “Treasure Planet,” ...we believe the weak Sunday box office is not a good omen, on top of weak reviews and box office that would have been in the low-mid $20 million range if not for the premium pricing of 3D,” Greenfield said. “With yet another senior executive shake-up at Disney’s studio [Mark Zoradi stepped down as president of Walt Disney Motion Pictures Group this week], we would not be surprised to see a write-down that lowers Disney’s fiscal 2009 earnings, but which helps fiscal 2010 growth.”

Greenfield acknowledged that Fox intends to raise the bar for 3D content with next month’s release of “Avatar,” directed by James Cameron.

How 3D movie releases impact the format on TV remains to be seen. So far, most U.S. 3DTV fare has involved special simulcasts of sporting events to properly equipped theaters. ESPN most recently transmitted the USC-Ohio State Sept. 12 game live in 3D to a theater on the University of Southern California campus.

BSkyB successfully transmitted 3D content across its HD infrastructure earlier this year and plans a full-fledged launch for next year. Mexico’s Televisa recently broadcast its first soccer match in 3D.

 

Kodak Digital Cinema Undergoes Major Strategy Shift

http://celluloidjunkie.com/2009/11/20/kodak-digital-cinema-undergoes-major-strategy-shift/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+celluloidjunkie+%28celluloidjunkie.com%29

 

Posted by J. Sperling Reich | November 20, 2009 10:53 pm

For the past several weeks there have been whisperings in conversations throughout the motion picture exhibition industry about organizational changes at Kodak Digital Cinema. To put an end to the conflicting reports that were coming my way I did the most simple of things; picked up the phone and spoke with someone directly at Kodak. Strange, I know, given that this business has gotten us all so used to playing our cards close to the vest, but sometimes a direct approach actually works.

Indeed, Kodak Digital Cinema is dramatically changing the focus of its business. Bob Gibbons, Director of Marketing and Communications for Kodak Digital Cinema lived up to his title by being very upfront in explaining the company’s new strategy. “We’re going to really concentrate on areas that build more directly on our unique capabilities of service and intellectual property licensing,” said Gibbons. “We’re going to discontinue all development and manufacturing of our preshow advertising systems, our Kodak screen management servers, our Kodak theatre management systems and what I refer to as our role as a feature systems integrator, putting the packages together and marketing the packages.”

Acting as a systems integrator has been the most visible part of Kodak’s digital cinema business up until now. Moving forward, Kodak Digital Cinema will instead develop and license digital cinema technologies to be commercialized by others while continuing to provide services and support for existing systems. Though Kodak may not be manufacturing preshow video players any longer, they will continue to prepare and distribute preshow content and playslists.

Gibbons puts the number of Kodak digital cinema servers out in the field at around 300 and he was firm in reiterating that the company would absolutely continue to provide service and support for their equipment. However, he stated, “If you are thinking of working with Kodak as an integrator and having us put a package together for you, well we’re not going to do that anymore so you’ll have to move on and work with somebody else.”

Other aspects of the business that will continue is Kodak’s network operations center which monitors the health of digital cinema equipment on a round the clock basis. Kodak’s diagnosis most of the problems that occur with installed equipment remotely from their NOC. They are often able to fix the problem without sending technicians. As for any intellectual property the company may be working on for digital cinema, Gibbons said, “Kodak has a long history in imaging and different aspects of picture quality. We have somewhere around 500 patents in the digital area alone and so we’re going to continue to develop some of that and so far as people want to license that and put it in their products we’d be happy to talk with them.”

According to Gibbons, Kodak has no plans to sell any assets developed by Kodak Digital Cinema that may no longer be called for due to their new strategy. This includes their proprietary secure media server and theatre management system. Though never say never, because if you gave Kodak a call and were interested in licensing the intellectual property Kodak built for its servers, “we sure would be interested in talking to you,” he said. “I don’t want to say we’re not doing that, but at this point we are not doing it.”

Of course, whenever a company like Kodak shifts its business strategy there are bound to be a few casualties when it comes to personnel. Since Kodak is such a large company some of the engineers may well end up in other assignments. Same goes for those working in sales. But in the end there will be some layoffs, however small. “We’re not talking about a gigantic operation here,” said Gibbons. “When we get all done with the number of people who will be let go because of jobs being eliminated it will be in the dozens. A couple dozen. It won’t be more than that.”

Speaking about the news with exhibitors who had been working with Kodak as system integrators, the reactions ranged from disappointed to bitterly angry. Some theater owners had been with Kodak for years, while others had only recently signed on. All of them seemed to question digital cinema’s current business model given that both Kodak and Technicolor have gotten out of the systems integration business over the past year.

On a side note, all references to Kodak Digital Cinema have been removed from Kodak’s corporate website.

 

News : Cinemark premieres Imax rival at Century Park Place 20 - Inside Tucson Business - newspaper, business news, opinion, classifieds

http://today3d.blogspot.com/2009/11/news-cinemark-premieres-imax-rival-at.html?utm_source=feedburner&utm_medium=email

 

An “Extreme Digital Cinema” theater — think Imax — opened at Century Park Place 20 last week giving local moviegoers the market’s first large-screen format. Tucson is one of 14 cities, and the only one in Arizona, where Cinemark is introducing what it’s calling XD technology.

The theater, at 5870 E. Broadway in Park Place Mall, features a floor-to-ceiling, 72-foot wide screen and more than 30 speakers pumping customized digital surround sound. The standard seats also were replaced with 300 specially made leather chairs, part of an effort to create the “maximum comfort environment.”

“The Cinemark XD auditorium offers an environment that engages all of your senses and pulls you into the movie,” said Cinemark CEO Alan Stock.

Unlike Imax, movies shown in Cinemark XD don’t require reformatting for the super-screen allowing the theater to rotate screenings of multiple attractions for audiences. The Tucson theater opened at midnight Nov. 19 with the premiere of the vampire-drama “The Twilight Saga: New Moon.” It will also screen “Disney’s A Christmas Carol” in 3D through the holiday season.

Ticket prices are an average of $3 per ticket higher for XD theater than in other theaters. A regular adult ticket costs $12 and child/senior tickets are $9 each. There’s another $2 charge for 3D showings.

The introduction of the new theaters has prompted a pair of lawsuits.

Reacting to a letter it received from Imax, Cinemark filed suit Nov. 3 in federal court in Texas asking for a declaration that it isn’t in violation of Imax patents by installing the XD technology.

On Nov. 12, Imax filed a lawsuit against Cinemark in New York State Supreme Court claiming breach of contract, fraud and misappropriation of trade secrets. The complaint"

 

UCI Kinowelt strikes back at German film board

http://www.hollywoodreporter.com/hr/content_display/news/e3i2be1f9566e4c124d40f2e1329867c7ac

 

FFA canceled plans for $60 mil in funding

By Scott Roxborough

Nov 20, 2009, 03:47 PM ET

BERLIN -- Multiplex group UCI Kinowelt has struck back at the German Federal Film Board in an ongoing battle over a tax local exhibitors have to pay on cinema tickets.

In a statement Friday, UCI defended its decision to continue with a lawsuit against the tax, which it, and many German exhibitors, consider unfair. The exhibitor, a division of the Odeon & UCI Cinemas Group, also denied the suit was hindering plans to finance the digital cinema rollout in Germany.

The FFA pointed the finger at UCI this week when it canceled its plans to provide around $60 million in funding towards an all-industry, $445 million plan to help German theaters pay for a digital upgrade. The FFA had offered the cash on the condition that UCI and other exhibitors drop their lawsuit.

In its statement, UCI said the national digitalization plan was "at an early state of evolution" and that if it has now been abandoned "it is solely at the instigation of the FFA." UCI also said its opposition to the FFA's ticket levy was not connected to the national digital plan.

 

Virgin Media offers 3D TV on-demand

http://www.digitalchoices.co.uk/virgin-media-offers-3d-tv-on-demand-16112009.html

Monday 16 November, 2009

By Becca Talbot - becca@consumerchoices.co.uk

Cable giant Virgin Media is offering its TV customers a chance to watch Channel 4’s 3D content on-demand.

Virgin Media (www.virginmedia.com), Britain’s largest cable TV, broadband and home phone provider, is offering its subscribers a range of 3D programmes through its on-demand TV catch-up service.

The content will be available from today, and viewers who want to watch it will need a pair of 3D specs. You can pick these up for free from Sainsbury’s or Virgin Media stores.

A spokeswoman for Virgin Media said: “We will be making the 3D episode of Chuck - aired on Virgin1 in August - available in TV Choice. We are also working on getting some additional content.”

The “3D Festival” from Virgin Media will give customers access to Channel 4’s The Queen in 3D and Derren Brown's 3D Magic Spectacular. Both programmes will be available in Catch up TV and TV Choice.

Catch up TV is free for all customers, while TV Choice is £7 for TV Size: M and L customers, and free for all Size: XL TV package customers.

The 3D on-demand content on Virgin Media will be available from today until to mid-December.

Jon Ingram, operations director at Digitalchoices.co.uk, said: “This offer is great news if you’re a Virgin Media customer and you miss the 3D content being aired this week on Channel 4.”

He added: “After its successful 3D trials, it’ll be interesting to see if Virgin Media decides to offer customers more 3D content, such as the 3D channel planned by Sky.”

Earlier this year, rival satellite digital TV provider Sky announced plans to launch a 3D TV channel at the start of 2010.

 

Financing 101: Digital Cinema

http://www.digitalcinemareport.com/node/1361

Submitted by Nick Dager on Fri, 11/13/2009 - 11:21.

·         Feature Stories

·Guest Column

By Michael Karagosian

Exhibitors today are faced with several options for acquiring digital cinema equipment.  If seeking a financing plan in which studios provide financial assistance through the virtual print fee mechanism, it is worth taking time to understand the hurdles to financing such deals.  

To a bank, VPF financing is anything but straightforward.  A deployment entity holds title to the equipment, but the equipment is in the possession of an exhibitor.  The exhibitor uses the equipment to generate revenue, but the revenue that pays off the equipment debt comes from the studios, paid out incrementally.  The deployment entity invoices the studios for the VPF, not the exhibitor.  A complicating twist is that there are contractual issues that must be met by the exhibitor, with failure to do so resulting in non-payment of a VPF to the deployment entity.  There are risks with any deal, but while this is not your typical equipment loan, the mechanisms behind these deals are solid and are worth gaining comfort with.

In a so-called virtual print fee deal, the deployment entity signs a deployment agreement with each of the major studios.  The primary purpose of this agreement is to provide a fundable instrument describing the flow of payments used to recoup equipment costs.  To simplify the administration of such agreements, steps are taken by the deployment entity to equalize the core terms.  With the benefit of multiple players engaging in such negotiations, the trend over time has been for the agreements to be “rounded,” lessening the equalization effort needed.  

The virtual print fee provides the revenue used to retire equipment debt.  The VPF is a fee paid per booking, as opposed to a fee paid per distribution, or a fee paid per play.  It should be well known that the VPF is not an arbitrary figure.  Ideally, the combined cost of the VPF plus the cost to generate and ship a digital print costs no more than that to generate and ship a film print.  

There are several ways in which the equipment can be financed.  If the deployment entity has substantial assets, it can issue debt.  Alternatively, the deployment entity can borrow against the digital cinema equipment itself.  Or it might collect some of all of the money from the exhibitor.  Of course, the deployment entity may have cash available to invest.  A combination of these methods may also be used.

When VPF financing was first conceived, it was expected that large companies with significant assets would back these deals.  But of the four deployment entities in the US with the potential to self-finance or issue debt, Dolby, Kodak, and Technicolor have either reduced their presence or completely pulled out of the deployment business.  Sony today is the only deployment entity that remains in this class.  Cinedigm, as with several peer deployment entities around the world, has financial commitments that allow it to borrow against the equipment.  In such deals, the bank expects a certain amount of equity in the equipment to be contributed by either the deployment entity or the exhibitor.  But the main challenge with commercial financing of equipment is that the loan, termed senior debt, will typically have a five-year term.  Unless there is a substantial equipment equity contribution, the monthly revenue from VPFs will not be sufficient to meet the monthly obligations of the senior debt.  Additional funds are required.  This results in junior debt, which is likely burdened with a high interest rate.  The junior debt can have a significant impact on the overall deal.

In a recoupment scenario, the studio agrees to pay a certain percentage of the purchase and financing costs.  Generally, there is a requirement for the exhibitor to also contribute towards a minimum percentage of these costs.  When a commercial equipment loan is the principal finance mechanism, someone has to pick up the unresolved costs not met by VPF revenue.  Depending on the way the deal is constructed, that someone could be either the exhibitor or the deployment entity.  The unresolved costs may also be financed through junior debt.  Fortunately, studios are willing to pay VPFs over a term longer than five years, providing an opportunity to recoup the unresolved costs associated with the senior debt after the senior debt is retired.  The balancing act, of course, is to do so within the term of the deployment agreements.  

Exhibitor financing is a popular option now available through deployment entities in Europe and the US.  When deployment entities talk about exhibitor financing, they are referring to the case where the exhibitor, and not the deployment entity, is responsible for 100 percent of equipment costs.  Typically, the exhibitor’s bank is paid from the deployment entity’s VPF revenue pool, which may not directly correspond to the VPFs earned at the exhibitor’s sites.  If the exhibitor funds the purchase of equipment through a commercial loan, it is the exhibitor who picks up the unresolved loan costs not met by the VPF payments to the bank.  Depending on how the deal is constructed, there may be an opportunity to recoup these costs over time.

The wonderful thing about VPF deals is that everyone gets to pay.  Once content exceeds a certain length, the content supplier is expected to contribute to the recoupment pool.  If that supplier is you, you may have to dip into your pocket.  For many exhibitors, this is not a popular feature. Depending on the deal, on-screen advertising and special screenings can generate fees.  In addition, risk may be shared.  Exhibitors and/or maintenance entities may be financially responsible for missed shows.  Deployment entities may impose their own restrictions that affect content bookings.  While much effort went into the technology of digital cinema so that business could continue in the same manner as with film, the exhibitor may find that digital cinema financing has a lot more impact than expected on how business is conducted.

Digital cinema financing may not be simple, but it is understandable.  By digging into the details, you can learn if the deal on the table is for you.

Michael Karagosian is founder and president of MKPE Consulting LLC, a Los Angeles-based consultancy in the entertainment industry.  Visit his company at http://mkpe.com.

 

ShowEast: Money Talks

http://www.digitalcinemareport.com/node/1372

 

Submitted by Nick Dager on Fri, 11/13/2009 - 14:19.

 

There were three main topics of conversation at ShowEast 2009, which was held last month in Orlando, Florida: the first two were 2K versus 4K technology and money, both how to raise it and how to make it. As in recent exhibition shows the money talks centered on financial business models and new ideas in alternative content. But, in truth, most everything really focused on the third topic – 3D – that of course encompasses the other two topics as well. And looming over all of this was the widely anticipated impending release of Twentieth Century Fox's Avatar from director James Cameron.

 

Despite the fact that the turnout for the show was noticeably down – as low as forty to fifty percent by some estimates – there were quite a few business deals announced. And, as usual, there was a lot of new technology on display.

 

Texas Instruments DLP Cinema announced that it has reached the milestone of more than 14,000 global theatre installations with more than 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.

 

According to the company, 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.  

 

At ShowEast executives from DLP Cinema were celebrating the role their technology played in the making of Avatar as well as its presentation in theatres.

 

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 next month; 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," says 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."

 

"DLP's cutting edge technology will play an important role in bringing Avatar to life for moviegoers around the world," says 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."  

 

According to DLP Cinema, projectors from its 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.

 

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," says 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."

 

Christie debuted its new Solaria series with the launch of the Christie CP2220 digital cinema projector. The projector features Texas Instruments' DLP Cinema technology and an optional integrated 2K/4K media block. Christie's 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 projector uses Doremi's integrated media block.

 

"Christie is committed to supporting its customers today and in the future. That's the primary driver behind our 2K and 4K-ready solutions," says 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-inch 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-inch products and not available in the smaller chip format used by other manufacturers in their mid power projectors," says Brian Claypool, senior product manger, entertainment solutions for Christie.

 

Sony unveiled 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 five years ago, Sony has advanced the technology to meet the continually evolving requirements for digital exhibition," says 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 designed for the R220 model.

 

The system is FIPS 140-2 Level 3 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, LLC (DCI). The projector also produces superb images that are compliant to DCI requirement 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 foot-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 SXR-R320 projector can deliver crisp 3D images on screens up to 15 meters (50 feet side-masked) in width with a brightness level of 4.5 foot-L.

 

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, LMT-300 Media Block Projector and lens have a street price of $85,000 are planned to be available in November.

 

Frank Theatres is converting its operations to Sony's 4K digital cinema projection technology. The exhibitor will begin its rollout this month and continue through the end of 2009, covering a total of 231 screens.
            


"We're always open to exploring new technology that can enhance our customers' experience while they are in our theatres," says Bruce Frank, president and CEO of Frank Theatres. "The Sony 4K projectors are a perfect match for where we want to take the future direction of our circuit, delivering the highest levels of resolution, image quality and flexibility for displaying motion pictures or alternative content, in 2D or 3D."
            


Frank Theatres operates 18 locations across New Jersey, Pennsylvania, Florida, South Carolina, North Carolina, and West Virginia. Sony's Digital Cinema Solutions and Services Group will work with Frank Theatres to provide installation and complete integration services. The circuit's adoption of Sony's 4K projection systems is part of its ongoing evaluation of state-of-the-art technology throughout all its theaters, from the auditoriums to lobbies to concession stands.
            

In addition, 50 of the 231 screens will be outfitted for 3D using a combination of Sony's 3D dual lens adaptor with RealD's 3D technology.
            

"Frank Theatres is a perfect example of a modern exhibitor taking the right steps to equip its operations for the future," says Mike Fidler, senior vice president of Sony's Digital Cinema Solutions and Services Group. "We're excited to be working with them as they begin their 4K digital conversion."

 

NEC Display Solutions announced three new digital cinema projectors, providing three brightness level options to match screen sizes up to 105 feet wide.

 

The new, optional NEC internal MediaBlock and discreet NEC Local Storage Server provide a complete and compelling industry solution for showing digital movies and deliver many benefits.

 

For example, the MediaBlock can be built into the projector as another integrated option available to exhibitors. NEC simplifies the connection and delivers control of the MediaBlock from the projector. A cinema ad can be directly integrated into the NEC MediaBlock/Server solution.

In addition, NEC offers easy maintenance to minimize downtime through a single maintenance window for both projectors and the MediaBlock/Local Storage Server.

 

The system is able to self-diagnose, which can simplify trouble-shooting. 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.

 

"As exhibitors upgrade to digital cinema, they demand high brightness and great customer care. With NEC's 24/7/365 support, these models really meet their needs," says Jim Reisteter, general manager, digital cinema division, NEC Display Solutions. "NEC gives theater owners everything they require to complete their digital cinema installations – from financing to model variety. These new NEC projectors stand apart from their competitors for their reliability, elegance and ease-of-use, and together offer the flexibility needed to suit all screen sizes."

 

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.

 

A dual-airflow design minimizes dust and segregates the bulb from other internal components for better long-term serviceability and reliability. NEC is the only projector manufacturer to provide this dual-airflow design for protection from dust and oil contaminants. The lamp-cooling airflow is separated from the chassis-cooling airflow, which prevents drawing in dust and oil from enclosure panel gaps.

 

In addition, all three models are engineered for long-term use, with simplified lamp and parts replacement. These NEC projectors include new Texas Instruments Series 2 electronics and are designed for easy maintenance to minimize downtime, including quicker replacement of parts experiencing trouble, and easy, timely trouble-shooting by self-diagnosis. The projectors are highly reliable, performing admirably in harsh operating environments found in projector booths/rooms/theaters.

 

"These new digital cinema projectors are part of a complete family of offerings addressing every need that will include 4K technology in the future," Reisteter says.

 

The NC1200C, NC2000C and NC3200S will be available in early 2010.

 

intoPix announced  that NEC Display Solutions has integrated intoPix JPEG 2000 technology into their DLP Cinema projector.

 

"We have selected intoPix because of their know-how in the JPEG 2000 compression technology field, their smart single chip FPGA implementation and their integration support," says Atsushi Kuroda, general manager of NEC Display Solutions, projector development division. "This gives us the opportunity to provide a fully integrated cinema projection solution and therefore brings us a competitive advantage in the digital cinema deployment."

 

"I'm delighted to announce the selection of intoPix solutions by NEC Display Solutions," says Jean Francois Nivart, CEO of intoPix. "Our ability to provide NEC Display Solutions with a strong and complete solution was a key success factor for this collaboration. Through a seamless collaboration between the technical teams of both companies, we managed to incorporate the advanced specifications of the NEC projectors product line in the customized solution. We are happy to contribute to the excellence of NEC Display Solutions Cinema product line."

 

Datasat Digital Entertainment announced that it has sold the DC20, digital cinema server featuring Qube Cinema's software, in six countries including the United States, Canada, Mexico, South Africa, Honduras and Spain.

 

"We have found the DC20 to be a quality choice in servers - offering the most options and user friendly interface in the industry," Vince Bulter of Claco Equipment and Service says. "In addition, Datasat continues to offer the same fantastic customer service and reliability that DTS was famous for."

 

The DC20 Digital Cinema Server supports multiple playback formats, offers both digital and analog audio outputs, and features a FIPS certified media block. The server's user-friendly interface enables easy control, content management and tight automation integration.  The DC20 can be used as a standalone digital cinema player system for a single screen, or as a network player system in a multiplex configuration.

 

"The new DC20 Server is the server to install into 3D cinemas. The features on the DC20 make the uploading of content so much easier and faster," says Johan Van Staden, technical manager of Sterkinekor Theatres in South Africa. "The connections and installations go very fast, and the software is very user friendly and easy to understand and use."

 

In one of the most interesting concepts for alternative content that I've seen to date, Screenvision announced that it has teamed up with retailer Daffy's for an exclusive, interactive live in-theatre advertising campaign. The live Fitting Dance commercial featured dancing models and debuted last month at New York's Ziegfeld Theatre. The campaign also includes a taping of the one of the live ads that will be used for an exclusive in-cinema 30-second spot also entitled Fitting Dance, which is set to hit theatres throughout the Screenvision network timed to Thanksgiving 2009.

 

The live spots featured many original elements which began with audiences were treated to a pre-recorded spot featuring models in a Daffy's fitting room filled with Daffy's holiday merchandise. The performance fused on-screen and front-of-screen performances where dancers in the spot danced out of the screen's frame and onto the stage live in the theatre. The dancers perform to an original song called, Fitting Dance below the screen and eventually exit the theatre, with the action in the video continuing to rotate in new models, who continue to appear live in the theatre. At the end of each of the performances, the dancers come together in front of the screen to perform one synchronized, choreographed dance routine for the moviegoers. Audience members also receive a coupon to Daffy's upon exiting the movie. 

"With the Daffy's campaign, Screenvision continues to provide compelling in-cinema advertising opportunities that allow advertisers to target specific audiences through unique, interactive capabilities," says Michael Chico, executive vice president, sales and marketing, Screenvision. "As we continue to cultivate our cutting-edge network and create more interactive ventures, advertisers can look to Screenvision for further opportunities to captivate moviegoers and complement their campaign across key demographics."

 

Will Bracker, director of marketing at Daffy's says, "Working within Screenvision's preshow allowed us to reach our consumers in a truly ground-breaking fashion that actively connected with them beyond the screen. By watching the advertising come to life before their eyes, moviegoers are able to relate to the thrill of shopping at Daffy's in an entertaining way that will stay with them even after they leave the theatre."

 

Screenvision also announced that its live feed technology would be in 300 movie theatres across the country by the end of 2010.  This technology will allow Screenvision to expand its live event programs and even exhibit live events that are exclusive to cinema. In addition to viewing sports, concerts, arts and news events, the technology also has a corporate application, for live business.

 

"Screenvision is committed to using its digital national network to deliver top quality entertainment to movie theatres across the U.S.  From documentaries, concerts, live sports, comedy we are creating a full spectrum of alternatives to compliment the biggest draw of all, the feature-length movie," says Darryl Schaffer, executive vice president, exhibitor relations for Screenvision.  "Corporations can also take advantage of this innovative technology by hosting live meetings and events at Screenvision theatres."

 

Screenvision Programming Services was launched in 2007 to enable exhibitors to attract additional audiences during off-peak movie timeframes. Screenvision has already offered such presentation as the La Scala opera series, UltraMarathon Man: 50 Marathons • 50 States • 50 Days, Ballet Shoes, its partnership with the New York Mets for Mets at the Movies, the Phillies' World Series film with Major League Baseball, the Boston Celtics championship season documentary, Return to the Rafters, MSNBC's coverage of President Obama's Inauguration, Stevie Wonder's "Live at Last", Stand-Up 360 comedy show, the independent film, Unbeatable Harold, the Philadelphia Phillies for Phillies on the Big Screen and the most recent HIT Entertainment children's programming series.

 

Barco announced Deliver Digital, a new program geared towards regional theatre circuits looking to convert to digital. The Deliver Digital program allows independent chains to compete with national circuits, with access to the same benefits, such as preferred financing terms, VPFs, and the highest quality images in the industry.

 

"Barco already delivers the industry's best technology, and now we've created the fastest and simplest means for our exhibition partners to convert to digital," says Todd Hoddick, vice president of digital cinema for Barco, NA. "With this remarkable program, we're delivering on a commitment to provide our customers the solutions they need — technology, financing and services. This, in turn, enables them to focus on providing their audiences with great viewing experiences." 

Under the Deliver Digital program Barco expedites a 21-day turnaround for qualifications, enabling prospective exhibitors to know rapidly if they qualify for funding and VPFs. To optimize a customer's conversion experience, Barco's program provides what it calls quick strike financing, a full digital cinema platform, and both installation and warranty services. To facilitate VPFs that will contribute towards the cost of digital systems, Barco has partnered with Cinedigm Digital Cinema.

 

Cinedigm Digital Cinema announced that it 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 says it anticipates closing the loan by the end of the year.

 

"We are excited to announce two significant financing commitments to support the transition of the exhibition industry to digital cinema," says 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, says, "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 3D 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 and entertainment says, "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, says, "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."

 

Cinedigm also announced that it has reached an agreement with Warner Bros. to supply movies in DCI-compliant digital form to Cinedigm-installed theatres in the United States and Canada. Warner Bros. will also pay Virtual Print Fees to promote conversion to DCI-compliant digital cinema technology.

 

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

 

"Warner Bros. has been from the start a strong proponent of the transition to digital cinema," says Mayo. "We are proud to announce their support of Cinedigm's Phase Two Deployment Plan. The momentum for this deployment is clearly building on both the distribution side and the exhibition side and we are delighted to be leading the way."

 

Chuck Goldwater, president of Cinedigm's Media Services Group, says, "Throughout the years Warner Bros. has been leading the industry in both quantity and quality of movies at the boxoffice. We are thrilled to have their continued commitment for our digital cinema deployment program. Their valued partnership is a keystone to helping us move ahead toward our goal of another ten thousand digital screens in Phase Two."

 

Finally Cinedigm announced that Overture would 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 to Cinedigm when those features run on Cinedigm exhibitor partners' digital screens.

 

"Cinedigm continues to be a great partner for Overture Films in our effort to take advantage of the growing demand for digital features," says 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," says 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."

 

Overture made other news with the announcement that it has also finalized a virtual print fee agreement with Sony Electronics' Digital Cinema Solutions and Services Group. Under this non-exclusive arrangement, Overture will release its titles in digital format for playback in U.S. theaters equipped with Sony 4K projection systems.

The agreement marks the latest alliance for the Sony DCSS group with a motion picture distributor, following recent announcements with Walt Disney Studios, Twentieth Century Fox, Paramount Pictures, and Sony Pictures Entertainment.



"The Sony digital cinema team has the right resources in place to give exhibitors the strongest foundation for digital cinema," says Kyle Davies, executive vice president, theatrical distribution at Overture Films. 



The Sony DCSS group was formed to provide turnkey solutions for exhibitors, enabling them to efficiently convert their operations to digital technology. In addition to digital projection system deployment, the DCSS group will offer installation and maintenance services, customized solutions, delivery of alternative content programming, and high-level service and support.



"Our agreement with Overture expands our efforts to give exhibitors the ability to provide their patrons with the highest-quality experience in theaters," says Mike Fidler, senior vice president of Sony's Digital Cinema Solutions and Services Group. "We will continue to forge and strengthen relationships with studios in order to increase the pipeline of digital and, ultimately, 4K, content for theatrical presentations."

Overture's first film under this new agreement is the box-office hit Law Abiding Citizen, about a brilliant sociopath seeking revenge for his wife and daughter's murder.  Released nationwide last month, the movie stars Jamie Foxx and Gerard Butler.  That was followed by The Men Who Stare at Goats, which was released earlier this month. The quirky dark comedy follows the U.S. Military's attempts to harness paranormal abilities to combat its enemies and stars an ensemble cast that includes George Clooney, Ewan McGregor, Kevin Spacey, and Jeff Bridges.

 

D-Box Technologies reached an agreement with Sony Pictures Releasing to feature D-Box's motion technology in Sony Picture's new action film, 2012, which released in selected theatres this month. Audience members viewing 2012 in theaters equipped with the motion technology will not only see the movie, but will experience it in a unique way as their surroundings respond and react to the events on screen.  
 

"We are anticipating great results at theatres equipped with D-Box's motion systems with the release of 2012," says president and CEO, Claude Mc Master. "This latest agreement with Sony Pictures serves as yet another testimony to the success of D-Box's innovative advances in motion technology.  We're looking forward to future content and plan to announce new theatres soon, as part of our rollout plan." 
 

Each D-Box MFX seat comes equipped with individual intensity settings that can be adjusted to heighten or decrease the motion experience. While moviegoers feel motion effects during many of the action sequences, the seats will remain still during the more dialogue-driven scenes.

 

2012 is an epic adventure about a global cataclysm that brings an end to the world and tells of the heroic struggle of the survivors.  The film is directed by Roland Emmerich and written by Roland Emmerich & Harald Kloser. Producers are Harald Kloser, Mark Gordon, and Larry Franco.
 

D-Box motion systems are presently available at seven theatres throughout the U.S. and Canada, including Cineplex Odeon Queensway Theatre in Etobicoke, Ontario; Mann Chinese 6 Theatre in Los Angeles, California; Theatres at Mall of America in Bloomington, Minnesota.; Galaxy at the Cannery in Las Vegas, Nevada.; Galaxy Highland Theatre in Austin, Texas.; UltraStar Cinemas in Surprise, Arizona.; and UltraStar Apple Valley in San Bernardino, California.

 

In addition, a new location, Cinéma Beloeil in Beloeil, Québec will shortly be equipping a theatre.

 

Digital Finance Ltd of Tipperary, Ireland announced the signing of its digital cinema deployment agreements with four major Hollywood Studios: Disney, Paramount, Universal and Twentieth Century Fox. These agreements will enable DFL to facilitate the conversion of cinemas from film to digital projection throughout the Republic of Ireland, Northern Ireland, and the UK.

 

Jason Brenek, senior vice president, worldwide digital cinema and cinema programming, Walt Disney Studios Motion Pictures, says, "We are thrilled to be working with Kevin Cummins and his colleagues at Digital Finance Ltd to enable state-of-the-art digital projection in the Republic of Ireland, Northern Ireland, and the UK.  Disney is fully committed to digital cinema and digital 3D and the highest standards of quality these technologies bring to the consumer. We continue to work closely with exhibitors and leading manufacturers to make the transition as smooth and cost effective as possible."

 

Roger Pollock, Paramount Pictures' executive vice president, international distribution and operations says: "Digital cinema is the future of our industry and we're delighted to be working with Digital Finance Ltd. to place Ireland at the forefront of this technology. This is an important step to accelerate the digital conversion and the 3D footprint in the region. We look forward to supplying our movies to this new digital platform and giving moviegoers the highest quality cinema experience available."

 

Julian Levin, executive vice president for digital exhibition at Twentieth Century Fox says, "We are delighted to have closed this deal with DFL. The conversion to a digital projection platform from conventional 35mm film will offer moviegoers an enhanced viewing experience in 2D and 3D. We look forward to working with Kevin and everyone at DFL in bringing the conversion to fruition."

 

Duncan Clark, executive vice president of distribution for Universal Pictures International, says, "We're pleased to be working with Digital Finance Ltd. in converting cinemas to digital projection. Digital cinema is the future of our business, so it's important we supply our movies to this new digital platform and enhance the movie experience by giving audiences the highest picture and sound quality possible."

 

DFL is underway with the installation of digital projection equipment in both Ireland and the UK, with 65 screens already deployed. With the commitment of Hollywood studios to support this rollout, exhibitors throughout these territories have a unique opportunity to transition to digital cinema.

 

Kevin Cummins, CEO for Digital Finance Ltd, says, "We did our homework and analyzed this area thoroughly. DFL presented a unique model to the studios, and our low overhead allows us to offer the best financing package possible to the exhibitor. The ability to rollout to the entire region of Ireland brings an economy of scale not otherwise possible.  We're very grateful for the support received from our friends at the major Hollywood Studios, and the feedback from our exhibition partners has been tremendous. We also extend our thanks to MKPE Consulting LLC for its help in securing these four agreements."

 

Exhibitors are offered full site 3D capable projection systems, which include a projector, SMS and TMS. 4K projection systems will be offered when available. According to Cummins, "We carefully chose our technology for its quality, maturity, stability, and proven robustness. Our exhibitors demand a high up-time and fast maintenance, as well as flexibility in 3D add-on technologies, and we feel we've made the best possible choices."

 

DFL will contract with Digital Cinema Ltd in Ireland for its installation and maintenance work.

 

National CineMedia announced that it has entered into network affiliate advertising agreements with Cobb Theatres, Galaxy Theatres, and Storyteller Theatres Corporation for the presentation of pre-show advertising.  Under the terms of the exclusive multi-year agreements, select Cobb, Galaxy and Storyteller movie theatres in eight states including Alabama, Arizona, Colorado, Florida, Nevada, New Mexico, Texas, and Wyoming will exclusively present NCM's pre-feature cinema advertising program.

"The additions of these theatre circuits furthers our strategic goal of building a national digital theatre network that can compete more effectively with existing national media networks," says Kurt Hall, NCM's president and chief executive officer.  "In particular, Cobb, Galaxy and Storyteller have improved our coverage in key markets, allowing us to better compete for the advertising budgets of clients who require more ubiquitous reach."

 

XpanD announced that it has entered into a non-exclusive agreement with Scrabble Entertainment, India's leading company in digital conversion, as the 3D provider targeting a rollout of 100 screens.  Phase one of the effort is underway.

 

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, XpanD's president of technology and operations for Asia says, "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."