Cinedigm Announces Agreement with Times Square Cinema For Phase 2 Deployment Program

http://www.digitalcinemainfo.com/cinedigm_02_19_10.php

February 19, 2010

Source: Cinedigm

NATO Cinema Buying Group and Cinedigm Bring Digital Cinema to Members of All Sizes


Cinedigm Digital Cinema Corp. announced Times Square Cinema, a Texas six-pled, has signed an agreement to deploy digital projection systems as part of Cinedigm's 10,000 screen Phase 2 digital cinema deployment program. Cinedigm is working with many small exhibitors using a newly completed contract template developed for the National Association of Theatre Owners (NATO) Cinema Buying Group (CBG) members.

The CBG represents more than 600 members of various sizes that collectively have over 6,000 screens. Times Square Cinema selected Cinedigm's Exhibitor-Buyer financing plan, which means the exhibitor will purchase its own digital cinema systems and Cinedigm will administer and manage the systems under its Virtual Print Fee agreements with all the major studios for up to a ten-year term.

In Phase 2, Cinedigm has created an Exhibitor-Buyer financing option for exhibitors. When exhibitors participate, they select and purchase Cinedigm-certified fully-networked digital cinema systems and Cinedigm manages the reporting, billing and collection of VPFs from movie distributors, receiving a fee for doing so. Cinedigm and the CBG have system supply and service arrangements with Barco, Christie, NEC, and Sonic Equipment Company. Times Square Cinema has selected Sonic Equipment Company based in Iola, Kansas as their Service Provider.

"We are very excited to be outfitting our theatre with digital cinema on all screens," said Howard Charba, owner of Times Square Cinema. "Cinedigm and the CGB have worked together to ensure that even the smallest independent exhibitors can transition to digital cinema, bring new and innovative programming to our customers, and compete with the larger chains."

"Times Square Cinema is an excellent example of a company that is served by our CBG Exhibitor-Buyer Agreement. It enables them to invest in their own business in order to compete in a changing market. We're delighted to have Times Square join the Phase 2 plan," said Bud Mayo, Chairman and CEO of Cinedigm.

Chuck Goldwater, President of Cinedigm's Media Services Group, said, "Times Square Cinema has been ahead of the curve in beginning a transition to digital cinema that makes sense for an independent cinema. Cinedigm is proud to provide our Phase 2 plan which will enable Times Square to enhance even further their capability to bring the best quality programming including alternative content options to their audiences."

Cinedigm provides the industry-leading deployment program for Digital Cinema that facilitates the funding, installation support and administration for the company's studio-supported Digital Cinema rollout plans.

In April 2008, the CBG, a buying program of the National Association of Theatre Owners (NATO) for small and independent theatre operators, announced the selection of Cinedigm as the digital cinema integrator of choice for the CBG's 600+ members in the United States and Canada.

To date, Cinedigm has contracted for and completed the rollout of more than 4,500 systems in forty-one states with exhibitors including Atlas Theatres, Allen Theatres, B&B 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 Picture Theatres, R/C Theatres, Showplace Cinemas, UltraStar, and Cinedigm's own Pavilion Digital Showcase Theatre.

 

Warner Bros. Pictures International Partners with ODEON & UCI Cinemas Group to Support the Expansion of Digital Cinema into UK

http://www.digitalcinemainfo.com/warner-brothers_02_18_10.php

 

February 18, 2010

Source: Warner Bros.

Continuing its commitment to deliver high quality entertainment across multiple formats, Warner Bros. Pictures International (WBPI) has entered into a comprehensive digital cinema deployment agreement directly with Digital Deployment Associates Limited to advance the conversion to digital cinema in ODEON sites throughout the UK.

Under the agreement, Warner Bros. will supply digital feature films to DCI-compliant digital projection systems installed at all ODEON sites, and the Studio will make financial contributions supporting the digital conversion. The announcement was made jointly today by Veronika Kwan-Rubinek, President, Distribution, Warner Bros. Pictures International (WBPI), and Rupert Gavin, CEO of ODEON and UCI Cinemas Group.

"ODEON and UCI Cinemas Group is pleased to work directly with Warner Bros. as together we pursue the advantages of digital to the widest audience possible"

"We are thrilled to have concluded a digital partnership with ODEON, who share a common commitment to enhancing the theatrical experience," said Kwan-Rubinek. "As we continue to roll out a slate of films that range from intimate settings to massive scope and scale, the digital transition provides us with the perfect opportunity to leverage the newest technologies so that audiences can experience these motion pictures in the highest quality possible."

"ODEON and UCI Cinemas Group is pleased to work directly with Warner Bros. as together we pursue the advantages of digital to the widest audience possible," said Gavin. "And while we are starting with them in the UK, this deal clearly presages deals we are now working on with our other European territories. We look forward to bringing fully digital cinemas to guests in all seven of the markets ODEON and UCI Cinemas Group serves by the end of 2010."

Sonic Equipment Company Announces New Silver Screen Option for Exhibitors

http://www.digitalcinemainfo.com/sonic-equipment_02_25_10.php

February 25, 2010

Source: Sonic Equipment

Sonic Equipment Company has accepted the exclusive distributorship for the Etoniq Silver Screen in the United States and Canada. The Etoniq screen, made in Asia, has been approved for use with the RealD Cinema System.

"With the recent success of 3D movies and our new arrangements with Cinedigm and CBG for the Phase 2 rollout, the opportunity to have a complete one-stop package for the independent exhibitor that includes the silver screen is exciting", says Sonic's Director of Operations Eric Olson.

The Etoniq screen meets all codes required for installation in North America and comes in a steel tube that helps insure safe delivery anywhere. "As the demand for 3D continues to rise we will work hard to give our customers fast, professional service and provide accurate delivery dates and shipment tracking" say Olson.

Sonic Equipment Company, located in Iola, Kansas, has become a leader in the cinema industry's conversion to digital. Sonic has been servicing independent exhibitors for over 30 years and as built a complete package for converting 35mm booths to digital, including PM Service, installation, equipment choices and financing options.

Sonic Equipment Company has also worked with independent theatre owners from consultation to Grand Opening on their new theatre projects.

 

Arts Alliance Media Announces Opening of French Digital Content Services Facility in Paris

http://www.digitalcinemainfo.com/artsalliancemedia_02_24_10.php

February 24, 2010

Source: Arts Alliance Media

Arts Alliance Media (AAM) – A European provider of digital cinema technology, content and deployment – announced today that it has opened a digital content services facility in Paris, to complement the end-to-end facility that already exists in London.

The lab, which opened for business last week, provides clients the same comprehensive mastering and distribution (including via satellite) services as the London base, which has been operating for 5 years, and has to date handled over 700 titles, and shipped over 15,000 digital prints.

The French facility, installed in Arts Alliance Media's Paris office at the Cinema des Cineastes, also has access to two fully equipped digital cinema screens where AAM staff and clients can QC content, including 3D content.

Arts Alliance Media's SVP Digital Cinema, Gwendal Auffret said "The opening of our digital content lab in Paris really opens up the European market for AAM. Now clients from across Europe can cut down on time and shipping costs, and can come and QC their content right on their doorstep. We are excited to provide an even better tailored service to distributors in France and across Europe as they undergo the switch to digital."

To manage periods of heavy demand, the French facility will work seamlessly with the London office – content ingested in Paris can be worked on remotely in London, and sent back electronically to France for distribution on hard drive or satellite.

Arts Alliance Media already has an established relationship with both content owners and exhibitors in France, and since encoding and sending Europe's first commercial feature by satellite last year, now routinely sends trailers and feature films to cinemas across France by satellite. Films transmitted this way include La Vida Loca, Cleopatra, Pierrot Le Fou, C'est Parti and Palme d'Or winner Entre Les Murs.

Services offered in Paris include:

- Creation of a territory-specific digital film master
- Encoding into JPEG 2000 (including addition of subtitles, logos, audio, audio description etc)
- An encode QC
- Creation of a full Digital Cinema Package (DCP)
- Duplication and distribution on physical media or by satellite to cinemas
- Generation and management of KDMs required to unlock content

For more details of these services, or to book in your content, please contact Isabelle Nerin, Sales Manager, Digital Cinema, on +33 6 80 11 02 97 begin_of_the_skype_highlighting              +33 6 80 11 02 97      end_of_the_skype_highlighting or at isabelle.nerin@artsalliancemedia.com.

 

Tim Burton hails Odeon cinema deal to screen his 3D Alice in Wonderland

Tim Burton hails Odeon cinema deal to screen his 3D Alice in Wonderland

Director Tim Burton today spoke of his relief after Disney reached a deal with the Odeon cinema chain to screen his new 3D fantasy adventure Alice In Wonderland.

The agreement was announced hours before the movie's Leicester Square premiere where stars Johnny Depp and Anne Hathaway were joining Prince Charles and theDuchess of Cornwall.

Odeon said this week that Alice In Wonderland would not be shown in response to Disney's plan to reduce the gap between the film's cinema debut and DVD release to about three months, rather than the usual 17 weeks. It pointed to the additional costs the chain had incurred making its screens suitable for 3D movies.

Burton, speaking at a press conference, said: "I'm glad it's resolved. We made it 3D so it could be shown in 3D screens, so I'm happy and really grateful."

The row had threatened to overshadow tonight's charity premiere. Odeon said today in a statement that an enduring agreement has been reached with Disney. "Odeon is pleased to announce that it will now be showing Alice In Wonderland beginning 5 March in its cinemas in the UK, Ireland, Italy, Germany, Portugal and Austria."

The Disney movie features Depp as the Mad Hatter, Hathaway as the White Queen,Helena Bonham Carter as the Red Queen, Australian rising star Mia Wasikowska as Alice and Little Britain star Matt Lucas as Tweedledum and Tweedledee.

Odeon had always said it would host the premiere out of "respect" for those involved including Charles and his charity foundation.     

A Recap Of Disney's Adventures With "Alice"

http://celluloidjunkie.com/2010/02/22/a-recap-of-disneys-adventures-with-alice/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+celluloidjunkie+%28celluloidjunkie.com%29 Posted by J. Sperling Reich | February 22, 2010 2:22 pm

Surely Walt Disney Studios was hoping their upcoming release “Alice In Wonderland” would generate a lot of media attention before it hits theatres on March 5th, though they probably weren’t trying to create the kind of buzz the picture received over this past week. Theatre owners in North America and Europe protested when the studio announced it would move up the DVD release of the movie to early June, just three months after Tim Burton’s adaptation of Lewis Carroll’s classic is distributed theatrically.

The announcement was made on February 8th by Disney’s CEO, Bob Iger, during an earnings call and seemed to come as a surprise to many. A surprising number of newspapers, websites and radio shows beginning running numerous stories about the dispute just two days later and through the course of last week. In fact, the Los Angeles Times managed to sum up the latest battle over movie release windows rather nicely:

The flare-up illustrates how an arcane topic once only of interest to Hollywood executives can affect moviegoers around the world.

The L.A. Times, along with The Wrap, touched on the fact that studios have been meeting with key North American exhibitors (probably Regal Cinemas, AMC Theatres and Cinemark) to negotiate a deal on shortening theatrical release windows. These meetings weren’t done surreptitiously. In January John Fithian, President of the National Association of Theatre Owners, told attendees of the International Cinema Technology Association’s tech conference that theatrical windows would be changing to help studios maximize revenues from home releases:

“As a person who represents the cinema industry I’m not going to tell you that we’re very happy that that model is going to change, but it has to. But it has to change logically and it has to change with studios and exhibitors sitting down together and analyzing the models. It’s not a great secret, this is happening. Leading studio executives, leading cinema representatives are talking about what these models should look like. The good news is we’re all at the table talking. That’s much better and much more cooperative than if studio x decided just to abandon the model and release a major picture in the cinema and in the home roughly at the same time. That’s not going to happen. What’s going to happen is some scientific thinking and some research and a deliberative process to maximize the model for the studios without killing the model for exhibition.”

So some North American exhibitors knew in advance of Iger’s announcement that Disney wanted to move up the DVD release of “Alice In Wonderland”, though certainly not all of them. And according to my conversations with exhibitors who had been in the loop, Disney was only looking to move up the DVD release date of “Alice”, not all of their subsequent releases. However, based on Iger’s comments both during the earnings call and a follow-up interview on cable news network CNBC, some cinema operators now fear a wider move is afoot at Disney and that other studios may follow suit:

“The problem with waiting these days is that you’re dealing with a much more competitive marketplace than ever before. The sooner we put a product into the marketplace — the less vulnerable we are to piracy.”

This kind of talk forced Walt Disney Studios Distribution President, Bob Chapek to release a written statement explaining that the shortened theatrical release window for “Alice In Wonderland” should not be taken as a signal Disney’s plans for future releases:

“It is important for us to maintain a healthy business on the exhibition side and a healthy business on the home video side. We remain committed to theatrical windows, with the need for exceptions to accommodate a shortened time frame on a case-by-case basis.”

European exhibitors were especially stunned by the news as it appears nobody from Disney had been meeting with them the way they had in the United States. Chapek sped off to the United Kingdom last week to conduct some damage control with specific exhibitors.

The top three chains in the U.K. all threatening to boycott “Alice In Wonderland” if Disney stuck to its DVD release plans. By the end of last week Cineworld, the U.K.’s third largest cinema chain, announced they had reached a private agreement with Disney and would show the film in their theatres.

Odeon and Vue, the country’s number 1 and 2 exhibitors had not reached a deal by the weekend and even went so far as to pull the film’s trailer from theatres. (There were a few reports Vue came to an accord with the studio since Friday.) Then today, Odeon confirmed publicly it would boycott “Alice In Wonderland” over Disney’s decision to release the film on DVD so soon, claiming it would:

“…inevitably set a new benchmark, leading to a 12-week window becoming rapidly standard… Odeon/UCI has invested considerable sums of money, especially in the UK, over the past 12 months to install digital projection systems in its cinemas. The proposed reduction in the window on a high-profile 3D title like Alice in Wonderland undermines the investment made.”

Exhibitors in the United Kingdom aren’t the only ones that are planning such extreme measures. Most of the theatre owners in the Netherlands don’t plan on showing “Alice In Wonderland” either. Speaking to AFP Youry Bredewold of Pathe and the Dutch National Board of Cinema Owners stated:

“We decided we need to send a message to the whole industry: if you don’t accept our terms we will never show your movies again.”

Ad Westrate, president of the International Union of Cinemas in Europe told the L. A. Times:

“I’m getting e-mails from my colleagues all across Europe and everyone says … this is one step too far. The guys are really fanatic now.”

Meanwhile, AMC Theatres in the U.S. may be taking a lesson from their counterparts in Europe. This morning, the L.A. Times reported that the second largest cinema chain in the world was “digging in its heels” over the “Alice In Wonderland” release window dispute and has not yet agreed to play the film. With more than 4,500 screens, mostly in North America, that could be the one straw that forces Disney to delay their plans for an early DVD release of the picture.

Even if Disney does cave in to pressures coming from exhibitors over the release window for “Alice In Wonderland” and delays DVD release of the film, this is an issue that will continue to rear its ugly head more and more in the near future. Warner Bros. is already talking to theatre owners about releasing the DVD for their animated film “Guardians of Ga’hoole” 86 days after its September 24th release, in time for the holidays. Last year, most cinema chains pulled Sony Pictures animated film “Cloudy With A Chance of Meatballs” when the studio said it would allow those who owned Sony televisions with Internet access to view the film a full 30-days before its release on DVD. In addition, Paramount Pictures ruffled feathers by releasing “G.I. Joe: The Rise of the Cobra” on home video less than three months after it premiered in theatres.

And it should come as no surprise that Disney seems to be leading the charge for the studios on release windows. As far back as 2005 Iger has said he wanted to shorten the release windows. Combine that with Chapek’s promotion at the end of last year as the head of all the studios’ motion picture distribution efforts. Chapek’s previous position? President of Walt Disney Studios Home Entertainment.

 

What's next in 3D?

http://today3d.blogspot.com/2010/02/whats-next-in-3d.html

 

You only have to peripherally interested in movies these days to have noticed that there seems to be an industry-wide interest bordering on mania where 3D is concerned.

 

The studios are making plans to make more films in 3D than ever before, and films that have already been shot in 2D are being converted to 3D. Disney's long-awaited, Tim Burton-directed "Alice in Wonderland" and Warner Brothers'"Clash of the Titans" remake top that list. Warner Brothers is also converting "Harry Potter and the Deathly Hallows" to 3D and that's what should have gotten people really thinking. "Harry Potter" shares top billing only with Batman as the crown jewel in Warners' crown, and Harry's generated more movies lately.

 

And they aren't alone. Even before "Avatar" was released, back in October of 2009, M-G-M announced that Drew Goddard and Joss Whedon's long-delayed "The Cabin in the Woods" would be delayed practically another year to convert it to 3D. It has been reported that Academy Award winning director Ridley Scott is lobbying Universal to convert his new "Robin Hood," which stars Russell Crowe to 3D. "Robin Hood" is believed to have topped the $200 million mark already.

 

That has to have moviegoers wondering what's next. There are some high-profile projects in development that could realistically be made in 3D, and there's been surprisingly little talk about some of them.

 

Currently, Sony and Columbia are prepping "Ghostbusters III" to shoot this summer. Ivan Reitman, director of the original two "Ghostbusters" movie is on board to direct, and most of the original cast is also attached.

 

In the original movies, Reitman had special effects ghosts flying at the camera all over the place. You'd have to think this would be a natural property for 3D.

My source at Sony at this point will only say: "There is nothing new to report beyond our continued progress in developing the screenplay."

 

Sony, however, has already announced plans to film the next installment of the "Spider-Man" movies series in 3D, as well as "Zombieland 2."

 

M-G-M's financial woes appear to be the cause of the recently announced pre-production delays in the twenty-third James Bond movie (and yes, we knowit's the twenty-fourth if you count "Never Say Never Again--" it would be the twenty-fifth if you counted the first version of "Casino Royale" and we aren't counting that, either) and not, as the English tabloids have claimed, that's it to prepare the film in 3D.

However, you'd almost have to believe that if Harry Potter and Spider-Man can go 3D, so can 007. As to that, producer Barbara Broccoli has been quoted as saying to MI6:

"[D]irectors like ["Avatar's" James] Cameron, they're fantastic because they get everybody excited about movies. We've always said that the better the competition, the better for us, because all we hope for is that people keep going to the cinema and that movies keep breaking barriers and becoming more and more exciting. We couldn't ask for anything more."

Which is a long way from saying that the next Bond movie will be in 3D, but it might be a roundabout way of saying they're thinking about it. After the success of "Avatar," in an uncertain economic climate, everyone's looking for a sure thing

 

3-D Glasses Global introduces line of 3D eyeware

http://www.filmjournal.com/filmjournal/content_display/news-and-features/news/technology-and-new-products/e3id4ade3d3e7f8db80fb2e2c5a344c3d39

Feb 17, 2010

3-D Glasses Global, LLC, is introducing a new line of 3D eyeware. "EYE-D" (copyright pending) 3D eyeware features molded plastic frames and is available with either circular or linear technology lenses that are manufactured by US Polarizer LLC. 3-D Glasses Global says the lenses provide the highest "extinction rate" in the industry.

"EYE-D"s are available in red, blue, green and yellow as well as traditional black, and are compatible with all 3D projection systems, including RealD, MasterImage and Technicolor. They will be on display at ShoWest booth 1720. Eye-D eyeware is available globally through local theatre equipment dealers.

To make an appointment in advance of ShoWest, call general manager Paul Caramagna at 508-251-5450

 

Visit www.3-DGlassesGlobal.com for more information.

Alice in Wonderland will not be shown in Odeon cinemas

http://today3d.blogspot.com/2010/02/alice-in-wonderland-will-not-be-shown.html

 

Tim Burton's new film version of Alice in Wonderland will not be screened at Odeon cinemas in the UK, Ireland and Italy, the cinema chain has confirmed.

The move is in response to the Disney studio's plan to reduce the period in which it can only be shown in cinemas.

Disney said the plan, which would allow it to release the film on DVD at the end of May, was an isolated one-off.

But Odeon claimed it would "set a new benchmark, leading to a 12-week window becoming rapidly standard".

Cineworld cinemas will show the movie, however, after reaching an independent agreement with the Disney studio.

The Vue chain is also understood to have reached an agreement with Disney, details of which are due to be announced shortly.

Odeon's decision will not affect the film's Royal premiere on Thursday, which is ironically set to take place at the Odeon Leicester Square in central London.

Nor will it affect its plans to show the film in Spain, Germany, Portugal and Austria - territories where Disney intends to observe the normal DVD release window.

Starring Johnny Depp as the Mad Hatter, Alice in Wonderland sees the novel's heroine return as a teenager to the magical kingdom for more surreal adventures.

Inspired by the works of Lewis Carroll, the film also stars Helen Bonham Carter, Anne Hathaway and Britain's Matt Lucas.

The Odeon & UCI Cinema Group is Britain's largest cinema chain with more than 100 sites nationwide. Cineworld and Vue are the second and third biggest.

Together they represent just under two-thirds of all cinema screens in the UK.

'Need for exceptions'

It is the amount of time that separates a film coming out in cinemas and its release on DVD that is at the centre in this dispute.

In the UK, the window for theatrical release is 17 weeks. In the case of Alice in Wonderland, Disney wants to reduce that to 12 in order to boost its DVD sales.

Bob Chapek, Disney's president of distribution, has said the company remains "committed" to theatrical windows.

However, he believes there is a "need for exceptions to accommodate a shortened time-frame on a case-by-case basis."

Odeon, though, believes such a move will damage not just its business but that of all cinemas in the UK.

"The negative impact on cinema attendance that such a reduction in the window will have will threaten the continued existence of many cinemas, especially the smaller and medium-sized cinemas."

Odeon also highlights the additional costs the chain has incurred making its screens suitable for 3D movies.

"Odeon/UCI has invested considerable sums of money, especially in the UK, over the past 12 months to install digital projection systems in its cinemas," it said.

Opposition

"The proposed reduction in the window on a high-profile 3D title like Alice in Wonderland undermines the investment made."

Disney also faces opposition in Belgium, the Netherlands and the US over its plans for this title.

It is not the first time, however, it has attempted to make overtures in this area.

Last year, the company attempted to reduce the theatrical window of Up, the hit Pixar movie named best animated feature at the Baftas on Sunday.

In that instance it dropped its plans after UK exhibitors threatened not to screen another of its titles, A Christmas Carol, later in the year.

Neither is Disney the only studio to have faced opposition over theatrical exclusivity from UK cinema chains.

In 2007, Odeon and Vue removed Ben Stiller comedy Night at the Museum from their cinemas after 20th Century Fox shortened its theatrical window to 13 weeks.

The Cinema Exhibitors' Association, the body representing the interests of around 90% of UK cinema operators, has not commented on this latest case.

Speaking "in general terms", though, it said it "strongly" supported the maintenance of "a clear and exclusive window between a film's theatrical release and its release on other platforms".

"The CEA believes maintenance of the window will ensure that audiences continue to enjoy the widest possible range of films in their intended environment, the cinema theatre."

 

TOP FIVE UK AND IRELAND CINEMA CHAINS

Odeon - 107 sites/834 screens

Cineworld - 74 sites/758 screens

Vue - 63 sites/608 screens

National Amusements - 21 sites/274 screens

Ward Anderson - 24 sites/206 screens

Source: UK Film Council

 

Fairburn 3-D Alignment and Calibration Test Chart available soon

http://dsclabs.com/Fairburn%203D.htm

Digital Cinema Society Advisory Board Member Sean Fairburn, working in conjunction with DSC Labs, has created a 3-D Alignment Chart designed to make 2 camera alignment and registration easy. The goal is to make the cameras see exactly the same thing, the same vector on all objects in the shot. Once done, convergence and interocular offsets are easy to make when everything is aligned to start with. Quick alignment checks can be done and recorded during prep and while on set from scene to scene, and then in post to aid in points of reference from camera to camera. They should then match exactly in Horizontal, Vertical, Zoom Size, Focus Distance, Rotation, Iris, as well as Black/White/Mid/Color.

Charts are offered in a 2’ size at a pre-discount price of $1,480US with a 40” also available at $2,150US. Confirmed Digital Cinema Society members in good standing will be offered a 15% discount off of these prices for a significant savings. For more information and to order, please visit the DSC Labs website: http://dsclabs.com/Fairburn%203D.htm

Some of the featured tools include:

 

• Horizontal and vertical alignment (white cross through middle and small crosses)

• Focus fans in corners (maximum contrast for ease of viewing even in low light)

• Zoom ring (to see zoom disparity between cameras focal length) line 5 pixels wide

• Keystone correction (colored balls and white rings in corners)

• Horizontal scale in cm and inches (to see exact IO offset at parallel)

• Mini gray scale at bottom steps 1, 6, 11 with DSC true black background

• 18% gray scale chips (at top of chart on RT and LT)

• ChromaDuMonde color reference in hexagon shape, matches vector scope orientation

• RIGHT and LEFT words on white lines used as orientation detectors

• Arrows up and right also used as orientation detectors

• Red R and Blue L to show color and eye reference (Red Right eye-Blue Left eye)

• RED R show image flip or flop orientation

• RGB & CMY have been added at highest printable value

• Focus fans at the center are for zoomed in focus aides

• Scale on far R & L to measure horizontal and rotational offset

• Center cross

 

Interested in finding out more? Read the Full Features and Setup Instructions Here.

 

Still Not Sold on It?

 

Try it for yourself. Take the images below and utilizing your own software see if you can make the two cameras match up. (Ex. Set images to 50% opacity in Photoshop and overlay)

New plan for digital cinema French will marry subsidies, tax on digital prints

http://today3d.blogspot.com/2010/02/new-plan-for-digital-cinema-french-will.html

An alternative way of helping French cinemas go digital has been put forward by the Centre National de la Cinematographie, Gaul's government-backed film and TV funder.

The package includes a new law to protect cinema independence.

 

CNC's plan to support up to 75% of the cost of digital conversion in theaters with a mutual fund, fed by coin levied from distributors, was rejected earlier this month.

 

CNC liked the idea because it spread resources across the sector and placed a buffer between exhibitors and distributors. It feared theaters would lose programming freedom if digital conversion was tied directly to distributor payments.

 

However, France's national competition authority judged the proposal to be a potentially damaging intervention, competing with existing digital service companies.

 

Instead it suggested funding conversion with subsidies targeted at vulnerable cinemas, supported by a new tax on digital prints.

 

The CNC is now proposing that cinemas go digital with a mix of public subsidy and direct support from distributors. The tax, if found to be viable, would be added at a later date.

 

Cinema circuits and groups with more than 50 screens are considered robust enough to deal directly with distributors or digital service companies. Others are encouraged to explore options for collective bargaining.

 

For those remaining, CNC will put together options for direct subsidies to complement distributor contributions. Aim is also to touch regional aid funds, in particular for theaters in rural areas.

The principle that distributors should be the first line in financing digital conversion will be set down in law. Legislation will also ensure that neither exhibitors' choice of films, nor distributors' access to screens, should be distorted by financing arrangements.

 

"Even though this solution lacks the principle of solidarity expressed in the mutual fund, and will cost the public purse more, it will probably be quicker to implement and therefore more effective," CNC said, announcing the plan Wednesday night.

 

It hopes to implement the plan in the second quarter of 2010.

 

SmartJog and Ymagis Team Up To Deliver D-Cinema Content

http://celluloidjunkie.com/2010/02/18/smartjog-and-ymagis-team-up-to-deliver-d-cinema-content/

 

Posted by J. Sperling Reich | February 18, 2010 3:51 pm

SmartJog and Ymagis issued a joint press release yesterday announcing they had reached a non-exclusive partnership agreement and will integrate their technologies to offer theatre owners a more robust digital cinema offering. The pairing seems as if it would be complimentary given that SmartJog specializes in high speed delivery of digital content and Ymagis focuses on digital cinema deployment.

What this means is that when Ymagis installs digital cinema equipment at one of their theatres, they will also be deploying SmartJog’s digital content delivery solution. During the first phase of the partnership, the SmartJog Gateway will be integrated into the Ymagis Cinema Central Server, which is a theatre management system. Content will arrive through the SmartJog Gateway and be handed off to the Ymagis TMS. This solution requires a theatre to make room for a separate piece of network connected equipment. The second phase of the partnership will integrate the software which runs the SmartJog Gateway directly into the Ymagis Cinema Central Server, allowing for content to be delivered straight to the TMS without need for additional hardware.

One bonus that comes with the partnership is that the two companies will be able to share their respective content delivery networks. This means Ymagis would be able to send content to any theatre in SmartJog’s network, even if the exhibitor wasn’t signed up with them. Both companies are based in France so it’s no shock that integration and deployment will begin in that country. Most, if not all, of the exhibitors Ymagis works with are in Europe.

Because the agreement is non-exclusive, Ymagis is still able to integrate content delivery technologies from other companies into their TMS while SmartJog is free to offer their solutions and technologies to other integrators and deployment entities in the market. As for the latter, it’s just a matter of when, not if, we’ll hear similar announcements in the future.

 

"DigiTraining Plus: European Cinemas Experiencing New Technologies"

http://www.mediasalles.it/dgt_online/

 

From the seventh edition of the course

“DigiTraining Plus: European Cinemas Experiencing New Technologies”

 

Helsinki, 17-21 February 2010

 

- daily update -

 

The spread of digital screens in Europe in 2009 experiences an authentic boom and the trend seems to be confirmed in the new year: according to the MEDIA Salles statistics, at 30 June 2009 there were 2,602 screens using DLP Cinema or SXRD technology. Compared to the 1^st of January 2009, when they numbered 1,535, the increase over the six-month period amounted to 70%. Growth is confirmed by the initial figures available at 1^st January 2010. This is what was reported by Elisabetta Brunella, Secretary General of MEDIA Salles, opening the second day of “DigiTraining Plus 2010”.

 

The statistical data collected by MEDIA Salles on the development of digital projection and the European cinema market is part of the teaching material made available to course participants.

From these figures we learn that France, which has become Europe’s leading digital market, began 2010 with 876 digital screens, with a 46% increase in the second six months of 2009.

 

2009 appears as a record year for European movie theatres not only for the acceleration in digitalisation but also for admissions. The number of spectators grows, and to no small degree, in cinemas all over Europe, from Iceland to Russia:  they numbered 1,102 million in 2008 and have grown to 1,172, with a 6.3% increase.

 

An analysis of the individual markets shows that in 2009 the 19 countries of Western Europe totalled 920.5 million spectators with a 5.7% rise. Central-Eastern Europe, which comprises 13 countries, amongst which Russia is included for the first time, recorded an even more marked increase: 8.7%. Admissions rose from 231.2 million to 251.3 million.

 

Whilst, in terms of admissions, some dips are also recorded – this is the case in Italy, for example – throughout Europe gross box-office registers overall growth where it is not affected by fluctuations in exchange rates: in Western Europe the average growth of box-office – estimated only for the moment – is around 13% compared to the previous year. And it seems that this is due to digital screening: the main reason, in fact, can be identified in the presence of more digital films in 3D, for which the cost of tickets is significantly higher.

 

During the morning, when an open-door session took place in collaboration with the Finnish MEDIA Desk and during which a focus was devoted to Russia, a talk was given by Leena Laaksonen, Senior Advisor to the Ministry of Education and Culture.

 

The afternoon centered on a detailed examination of business models by Michael Karagosian, of MKPE, and an overview of digitalisation in Scandinavia.

 

The DGT course gave Rolv Gjestland, of Film&Kino, the opportunity of announcing the results of the tender launched in Norway to choose the companies that will digitise the over 420 screens of the Country within mid-2011: NDA has received the contract for about 60 screens while Unique got the lion’s share. It will equip over 350 screens.

 

Sources: JP Morgan raises financing to pay for rollout of digital cinema

http://latimesblogs.latimes.com/entertainmentnewsbuzz/2010/02/major-theaters-secure-financing-to-pay-for-rollout-of-digital-cinema.html

 

February 5, 2010 |  5:48 pm

Lifting a roadblock to the rollout of 3-D in theaters, investment firm JP Morgan has raised nearly $700 million to finance the digital conversion of thousands of screens around the country, three people familiar with the matter said Friday.

The funding, delayed for longer than a year due to the credit crunch, would pay for the installation of digital projectors for about 12,000 screens, easing a bottleneck caused by an abundance of 3-D movies competing for not enough screens. There are currently only about 3,500 digital 3-D screens in the country.

The shortage of screens has created tensions between studios as they muscle each other to get their 3-D pictures into theaters. Warner Bros.' "Clash of the Titans," for example, is set open a week after DreamWorks Animation Studios releases its next animated movie, "How to Train Your Dragon" on March 26. Those movies also will compete for screens with Disney's "Alice in Wonderland," which premieres March 5.

The funding, expected to be formally announced in the next two weeks after studios sign off on the deal,  comes nearly three years after the nation's largest exhibitors -- AMC, Cinemark and Regal -- formed a consortium know as Digital Cinema Implementation Partners to pay for the digital conversion of theaters.

In 2008, the group said it reached an agreement with five studios to raise $1 billion toward retrofitting theaters. The funding would be secured through so-called virtual print fees.

-- Richard Verrier

 

Christie Ships and Installs 'Series 2' DLP Cinema Projectors

http://www.digitalcinemainfo.com/christiedigitalcinema_02_17_10.php

February 17, 2010

Source: Christie Digital

Next-Gen Christie Series 2 Projectors Now Showing Feature Films in Theaters Worldwide

Christie has confirmed full production, shipping and installation of the latest generation of 4K-ready DLP Cinema projectors, the Christie Solaria series, beginning with the Christie CP2220.

The Christie CP2220 digital cinema projector features Texas Instruments' next generation Series 2 DLP Cinema technology. Shipments began early January to North and South America, Europe and Asia and are now installed and showing feature films worldwide, including Australia, Canada, Korea and the United States.

With orders arriving daily, Christie continues its lead in digital cinema deployment resulting in 70% of all digital cinema installations worldwide since the introduction of DLP Cinema projectors – which Christie was also the first to market.

Designed to meet all Digital Cinema Initiatives (DCI) specifications, the Christie Solaria is fully upgradeable to 4K digital cinema and features Christie Brilliant3D™ technology, providing the ultimate, most realistic 3D experience with the lowest cost of operation.

“Our manufacturing facilities are in full production ensuring that we keep pace with this overwhelming demand for the new Christie Series 2 projectors,” said Craig Sholder, Vice President of Entertainment Solutions at Christie. “With the spectacular success of 3D movies like Avatar, exhibitors realize that digital cinema is no longer an option, it is a strategic imperative. The Solaria Series is the most practical, cost-effective solution today, based on time-tested, highly reliable DLP Cinema technology.”

Manager Vince Butler of CLACO Equipment and Service Inc. (a specialist in new cinema installations, upgrades, and maintenance of both the projection booth and auditoriums) observed, “In order to remain competitive, exhibitors have to be proactive when deciding which projector to buy today, and upgradeability to the right 4K technology is important. The main advantage of Christie DLP 4K vs. LCOS 4K is its light output capabilities. The DLP chip can handle the heat build-up better. LCOS technology does not allow for extreme heat to be dissipated, and this can affect the light output in larger venues.”

Integrity Entertainment Systems, LLC, an authorized digital-cinema reseller for Christie, placed hundreds of orders for the new Solaria Series 2 projector, which it will install throughout the United States. Integrity president Gary Engvold wanted to provide his customers with the largest selection of 2K and 4K cinema projectors on the market. He also wanted to ensure that his customers’ technology investment is future-proof.

“Some of our customers specifically requested Christie’s next generation of cinema projectors because they offer a 4K upgrade option,” remarked Engvold. “It’s inevitable that 4K is the future of cinema, but I truly believe that Christie DLP Cinema projectors are the best choice for our industry because they produce more light with less energy. In fact, the energy and lamp savings from using Christie versus the LCOS technology over a ten year period is huge. It’s almost enough to pay for the projector itself.”

Engvold added: “You can tell Christie put a lot of thought into this new product. In addition to offering a 4K upgrade option, they also made a lot of other improvements to the new Series 2 platform. The units are much easier to service and simpler to operate. For me it’s a ‘no-brainer:’ Christie really did listen to what their customers wanted and needed. The Solaria line is the only way to go.”

“It’s all about choice,” said Craig Sholder. “With Christie Series 2 projectors, exhibitors can choose from the widest range of components, including external or integrated media blocks, to complete their systems. They can also create a top-of-the-line 3D solution using any of the leading 3D technologies on the market. Christie is committed to supporting its customers and protecting their technology investment.”

In addition to the Christie CP2220, the new Solaria Series of 4K-ready digital cinema projectors also includes the Christie CP2210 and the Christie CP2230.

 

JPMorgan Finds $700 Million For DCIP

http://celluloidjunkie.com/2010/02/10/jpmorgan-finds-700-million-for-dcip/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+celluloidjunkie+%28celluloidjunkie.com%29

Posted by J. Sperling Reich | February 10, 2010 5:42 pm

That collective sigh of relief you may have heard over this past weekend no doubt came from the North American motion picture exhibition and distribution industries. The Los Angeles Times report that investment bank JPMorgan was finally able to round up roughly USD $700 million for Digital Cinema Implementation Partners must have come as some relief.

Heaven knows we’ve been hearing about DCIP’s quest for financing for well over a year now. It seems at every ShoWest, Cinema Expo or Show East for the past 18 months we’ve been told by investment bankers that money is on the way. Though let’s face it, if the staggering amount of money being sought wasn’t enough to cause a delay, the worldwide credit crunch certainly didn’t help. Financing hasn’t been easy to come buy in any business sector and no matter how lucrative the project.

Of course, DCIP is the deployment entity founded by three of the world’s largest exhibitors; AMC Theatres, Cinemark and Regal Cinemas. With anonymous sources close to the negotiations confirming that DCIP’s financing will be announced in the next two weeks, the company can finally begin the rollout digital cinema technology on 12,000 screens across the United States and Canada.

Back in 2008 JPMorgan, armed with virtual print fee agreements from the studios, went looking for USD $1 billion for DCIP to convert 14,000 screens across all three circuits. Since then, AMC has gobbled up Kerasotes adding another 900 odd screens to the mix. There was no word on which screens or theatres will be converted or what will happen to those screens which don’t make it into the first 12,000. Nor was a time frame given to complete the transition, though it has been widely expected to take three years.

JPMorgan and DCIP had postponed their search for financing for about year, picking it up in the last quarter of 2009, when credit worries began to ease. According to BusinessWeek the investment house was looking for $525 million in senior debth and $200 million in equity.

After the Los Angeles Times broke the news, it was truly interesting to watch news reports fly in from global media outlets that wouldn’t normally cover what could be considered just another run-of-the-mill financial update. Especially one that is technically still a rumor. Certainly this can be attributed to the success of “Avatar”, whose worldwide box office gross is USD $2.1 billion to date with no sign of slowing down. In fact, most of the posts and articles contained what seemed to be obligatory sentences such as:

“The [digital] equipment can also be upgraded to show 3-D films, which Hollywood studios are relying on to bolster revenue as DVD sales decline.”

What is important to keep in mind amidst all the cheerleading and speculation about a forthcoming announcement is that the money JPMorgan has raised (or is raising) is only meant to finance digital cinema servers and projectors. Traditionally studios have left 3D technology out of VPF agreements, making exhibitors financially responsible for installing their choice of 3D equipment. In other words, the 12,000 screens will be converted to 2D, but not necessarily all of them will be 3D capable. At least not initially.

Even so, any increase in the North American 3D screen count would be welcome. One exhibitor I spoke to recently complained that by the beginning of April he could potentially be juggling four 3D releases including “Avatar”, “Alice In Wonderland”, “How To Train Your Monster” and Kenny Chesney’s 3D concert film.

 

'Avatar' 3D glasses confiscated in Italy

http://www.hollywoodreporter.com/hr/content_display/world/news/e3iccd499946ba0cc7678ebf19be5851bf2

7,000 sets taken as they 'could cause hygiene risks'

By Eric J. Lyman

Feb 18, 2010, 10:01 AM ET

 

ROME -- Fans of the blockbuster "Avatar" applaud the film's use of 3D technology, but according to Italy's ministry of health it may also present a health risk.

The ministry said Thursday that it had confiscated about 7,000 sets of 3D glasses from Italian cinemas and could collect more of them, because of health risks it says users face.

The ministry said the glasses could cause hygiene risks if they are not properly cleaned between screenings, and that the 7,000 sets of confiscated glasses were taken because they did not display tags showing that they had been properly tested to prove they would not present a risk for short-term vision problems to those who use them.

The missing glasses have had little effect on the success of "Avatar" in Italy, where it remains the top-grossing film in the country.

Anica, the Italian cinema and audiovisual association, declined comment.

 

EIB to lend up to EUR 65 million to XDC for its digitization roll-out plans in Europe

http://www.digitalcinemainfo.com/european-investment-bank-EIB_02_18_10.php

February 18, 2010

Source: European Investment Bank

The European Investment Bank will grant financing of up to EUR 65 million to XDC, in the framework of the financing structured by BNP Paribas Fortis to contribute to its digitization roll-out plans in Europe. This will also strengthen XDC’s research and development activities to further improve its digital cinema solutions.

The loan facility granted by BNP Paribas Fortis, KBC, CBC and the EIB - the financing institution of the European Union - will finance digital cinema equipment aimed to be deployed in European cinemas in the scope of the “Virtual Print Fee” co-financing scheme. This scheme based on cost sharing between exhibitors and distributors has been signed by XDC with the 6 Majors Studio’s to convert up to 8,000 screens to digital over the next 4 years.

The participation of the EIB in the first tranche of the loan facility amounts to EUR 16 million. KBC Bank and CBC Bank will also participate in this facility with a contribution of EUR 10 million. BNP Paribas Fortis which had been mandated last year to structure, arrange and underwrite this 2 x EUR 50 millions project finance loan facility will provide the remainder of the first tranche or EUR 24 million. The loan will benefit, for a substantial portion, from an insurance cover provided by ONDD, the Belgian Export Credit Agency.

Ahead of these senior debt arrangements, XDC entered into a financing agreement with Barco, one of its preferred digital projector manufacturer partners. Barco will participate in this structure through a specific and tailored made vendor financing program.

"Financing capacity and technical innovation are key matters for XDC’s business plan execution” said Serge Plasch, XDC’s CEO. “This EIB loan facility will secure our long term senior debt requirements. Moreover, this will allow XDC to emphasize its R&D projects to serve the market with innovative solutions.”

EIB President Philippe Maystadt explained “how crucial it is, and even more in this period of shortened credit for niche sectors, to support long-term investment for young, performing SMEs with high potential. It is also important to support innovative projects with a strong R&D component with tailor-made financial products such as the Risk Sharing Finance Facility for Research Development and Innovation (RSFF) which we are using for XDC. He also added: We are pleased to support the development of XDC ; it has created its unique position as a key contributor in its field, bringing added-value to the distributors and exhibitors going to digital, and becoming a leader in the high-tech world of cinema.”

 

Sony Electronics Announces Digital Cinema Deal with Warner Bros. Studios

http://www.digitalcinemainfo.com/sonyprofessional_02_18_10.phpFebruary 18, 2010

Source: Sony Digital Cinema

Sony Electronics’ Digital Cinema Solutions and Services (DCSS) group has entered into a non-exclusive digital cinema deployment agreement with Warner Bros. Studios that will provide operational and financial resources to exhibitors to encourage them to feature Sony’s 4K SXRD™ projection technology in both 2D and 3D digital cinema-enabled screens across the United States and Canada. Future plans include other key international markets.

“Our relationship with Sony will help theater owners upgrade their equipment economically and efficiently, encourage the conversion to digital projection and increase the availability of high-quality 2D and 3D cinema to our audiences,” said Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures. “This agreement, made possible through the diligent efforts of Warner Bros. Technical Operations President Darcy Antonellis, will enable consumers to benefit from new and dynamic entertainment experiences.”

Warner Bros. is the sixth major studio to sign a virtual print fee agreement with Sony’s digital cinema group, joining Walt Disney, Twentieth Century Fox, Paramount Pictures, Universal Pictures and Sony Pictures Entertainment.

Sony’s DCSS group provides turn-key solutions for exhibitors, enabling them to efficiently convert their operations to digital technology. In addition to digital projection system deployment, the DCSS group offers installation and maintenance services, customized solutions, delivery of alternative content programming, and high-level service support.

“We’re excited to be working with Warner as part of the industry’s ongoing digital transition,” said Mike Fidler, senior vice president of Sony’s DCSS group. “They understand the value of 4K SXRD technology along with providing an integrated range of services to exhibitors – from equipment installation, maintenance and digital signage, as well as a diverse line-up of alternate content to enhance their customers’ in-theater experience.”

Sony’s 4K SXRD projection technology also supports the deployment of alternative content – including gaming, sporting events and music concerts – in order to develop more revenue-generating opportunities for exhibitors.