Studios prepping $30-per-film rental service?

http://www.today3d.com/2010/09/studios-prepping-30-per-film-rental.html

 

Would you pay up to $30 to watch a film before it comes out on DVD? Sony Pictures, Warner Bros., and Disney certainly hope so.

 

The studios are considering launching a new service that would enable people to watch the latest films from home through their set-top boxes, Bloomberg reported. The films would be available long before they make it to DVD, Blu-ray, or on demand, the news service said.

 

For now, details on how the studios plan to bring films to home customers are scant. According to Bloomberg, an unidentified Disney representative said the company plans to test it out with a single film early next year, and Warner Bros. is planning to test the idea later this year.

 

Time Warner Chief Financial Officer John Martin said at a Goldman Sachs conference in New York last week that Warner Bros. films could cost for $20 to $30 per viewing, Bloomberg reported. But paying up to $30 to watch a film one time could be a tall order for some consumers, especially since many are content to wait for a film's release on physical disc or on demand.

The studios' decision to offer a new-film service may be due to their concern over slumping physical disc sales, which declined 13 percent in 2009 compared with 2008, according to Adams Media Research. Last year, disc sales generated $8.73 billion

 

'Star Wars' saga set for 3D release starting 2012

http://www.hollywoodreporter.com/hr/content_display/news/e3i677c428c4dc16c2c7592835d50e86a3a

Films will roll out in order, starting with 'Phantom Menace'

By Jay A. Fernandez and Kim Masters

Sept 28, 2010, 08:49 PM ET

Updated: Sept 28, 2010, 11:18 PM ET

Big news on the 3D front.

Sources indicate that George Lucas is set on rereleasing the "Star Wars" franchise in new 3D conversions beginning in 2012. Although 3D versions have been rumored for some time, Lucas purportedly was waiting until there were enough screens available to make the release a sizable event.

Fox, which released all six original "Star Wars" films, also would release the 3D versions.

Episode I, "The Phantom Menace," would be first out of star-dock during early 2012. After that, each film would be released in order at the same time in consecutive years, depending on how well the first rerelease does.

Each conversion takes at least a year to complete, with Lucas overseeing the process to make sure each is as perfect as possible. He has said that the "Avatar" experience convinced him that "Star Wars" is ready for the state-of-the-art 3D treatment.

Starting with "Phantom Menace," Lucasfilm would use several higher-end conversion houses to work on the project. By late winter or early spring in 2012, the exhibition industry should have all the 3D screens anyone could want for such a release.

At present, pics are limited to 2,000-2,500 3D locations owing to an insufficient installed base of projectors and screens. Movie theaters are adding 3D screens at a clip of 500 a month in the U.S. Foreign exhibitors also are pushing into 3D as quickly as possible now that financing for the installations is flowing.

Also pushing the timetable is a potential breakthrough in 3D TV technology. With Samsung penetrating the market with 50,000-plus 3D-equipped sets and Sony recently sending its version to market, the home-viewing experience could be primed for 3D DVD versions of the films by the time the new 3D theatrical releases have run their course.

Lucas purportedly is lining up the theatrical rereleases as a lead-in to the ultimate home-viewing experience. Beyond that, the property would launch to other 3D media.

In the meantime, Lucas plans a comprehensive Blu-ray Disc set of the six films next year, which would include upgraded picture and sound quality, new deleted scenes and special features.

Alex Ben Block, Carl DiOrio and Borys Kit contributed to this report.

 

3D will become standard, says Crytek

http://www.today3d.com/2010/09/3d-will-become-standard-says-crytek.html

Cevat Yerli, CEO of Crytek has said that he believes 3D will become an industry standard in the future.

In a lengthy interview with Gamasutra the prolific CEO and designer discussed the sudden surge of interest in 3D, and was asked if he thought it will become a standard.

Yerli responded by saying he believed it will, and was quite confident in his assertion.

"I'm quite sure over the years it will become standard. 3D entertainment is inevitable. It will come, and the key solution will be if it's easy for the eyes," he said.

"We have been working with 3D for a while. We know the nuances and details, and our approach of concave 3D makes the game ultimately very accessible."

The Crytek man did draw attention to the challenges 3D may pose to the eyes, saying that its success depends on how individual people respond to it.

"If it's a challenge for the eyes, people won't like it. But we are trying to make a game that is hours of 3D, and you can judge it yourself. You've seen how easy it is for the eyes, and for me it's critical that people understand we are not naïve when it comes to 3D."

Crytek has promised that all future titles in the Crysis universe will be playable in 3D

Eutelsat beams 3D live concert to cinemas

http://www.today3d.com/2010/09/eutelsat-beams-3d-live-concert-to.html

 

Sep 27, 2010

 

Fans of German hip-hop band Die Fantastischen Vier will be able to watch a live concert of the group in 3D format in cinemas.

European satellite operator Eutelsat in conjunction with German media service provider Bewegte Bilder will transmit the event from east German town Halle to around 100 theatres in Germany, Austria, Switzerland, Belgium and Luxembourg.

The move marks the first 3D live broadcast of a concert to cinemas in Germany. For the feed, the partners will use Bewegte Bilder’s digital cinema contribution network on Eutelsat’s Atlantic Bird 3 satellite at 5° Wes) through which movies, live events and other content is beamed to cinemas.

During the Football World Championship, the network was used to transmit selected live games in 3D to cinemas

 

3D Movies All the Rage

http://www.today3d.com/2010/09/3d-movies-all-rage.html

 

 

STEREOSCOPOPHILIA. It's what some people (me and my college buddies) call their addiction to 3D, or worse, RealD movies. You might wander into a dark theatre one night and emerge, hours later, dazed, confused and feeling slightly nauseous.

The symptoms are cumulative and degenerative, each hit of mind-numbing gimmickry spiralling you further into a dejected malaise until nothing short of a solid whack on the head with a rubber mallet can satisfy your craving for vertigo.

Does this sound familiar? Stereoscopophilia already affects hundreds of millions of young people worldwide, but most are woefully oblivious to it. Don't worry, there's help. If you are unsure whether you might be suffering from a secret addiction to 3D cinema, remember the ''3-Ds''.

''D'' number one: Distraction. Do you find yourself feeling listless? Uninspired? Losing interest in the little things you once loved such as story arcs, cohesive plots, or logical scene progressions? Reach out to someone. Director Paul Anderson has. In a cry for help, Anderson publicly announced his own unhealthy addiction to 3D with the Australian release of his latest gorenography Resident Evil: Afterlife. Embrace his efforts. He's sacrificed his reputation to blow the whistle on 3D by demonstrating how it has perverted the Hollywood film industry. Perhaps there's a chance - a small chance - his zombified audiences might wake up and smell the stale popcorn.

A month ago, Anderson was only human. Today he's a model example for how to deal with your addiction. Not only has he taken the first step by reaching out, he's taken the second step as well. He's admitted he has a problem. "I wrote things into this script that I knew would work well in 3D," he said, "like lots of sets with depth-like tunnels, elevator shafts, and big wide landscapes" - which leads us to ''D'' number two: Delusion.

Even the best of us have trouble combating our inner 3Demons. Jeffrey Katzenberg, chief executive of DreamWorks Studios, is still struggling with his. After catching the 2004 premier of The Polar Express he was hooked. He called it "the most physically exhilarating experience in a theatre". At the Aspen Ideas Festival in Colorado in July, Katzenberg defended his five-year campaign for the proliferation of 3D and RealD^{TM technology.}

He rationalises this obsession by arguing that 3D enhances the artistic experience: "When sound came along 80 years ago, when colour came along 70 years ago, they were considered tricks and gimmicks at the time. All the same debate went on."

But unlike colour, 3D isn't a new medium for emotional expression. It merely intensifies shapes and movement. Katzenberg might claim it's harmless, just a lot of fizz-pop, like soda for the masses - each chooses whether to indulge or not.

But don't be fooled. Each time one of us succumbs, popular culture is impoverished on the whole; which leads us to ''D'' number three: Destitution.

Pockets feeling lighter than usual? Craving munchies from the snack counter but can't find two pennies to pinch? There's a reason - 3D represents a multibillion-dollar industry, and it is targeting your wallet. According to a survey conducted by PricewaterhouseCoopers, 3D has increased the production cost of feature films by about 10 to 15 per cent, which translates into a 5 to 7 per cent increase in ticket prices.

But before you languish in self-pity, realise that the poorest souls are the pushers: Hollywood's major production companies. To date, Warner Bros, Pixar and Dreamworks have all promised to produce every single one of their major releases in 3D. They are staking their futures on a fallacy. What can we do to help? Harden our hearts and walk away. They might take a beating at the box office, but we are doing them a favour in the long run.

If you are suffering from any of the ''3-Ds'', just remember it's not your fault. Stereoscopophilia is a disease, and highly contagious. Already the ''3-Ds'' are spreading to other media - television, gaming consoles, and personal computers. In the near future our prescription glasses and even our billboards might be infected if Katzenberg and the studios have their way. Resist it. Don't do the ''Ds''

Laser Light Engines Secures $13 Million Series B Financing Round From Venture Capital

 

http://www.today3d.com/2010/09/laser-light-engines-secures-13-million.html

Laser Light Engines (LLE), a developer and manufacturer of ultra-high brightness, laser-driven light sources, announced today it has closed a $13 million Series B financing round from returning investors Braemar Energy Ventures and Harris & Harris Group Inc., (Nasdaq: TINY) and from current strategic partner IMAX Corporation, (Nasdaq: IMAX) (TSX: IMX) one of the world's leading entertainment technology companies.

LLE will use the Series B funds to accelerate expansion of its product development, engineering and marketing organizations. The company will also develop a custom version of its laser engine for use in IMAX digital projection systems, making IMAX the exclusive large format cinema user for up to three years. LLE will also provide outsourced research and development for IMAX, per the agreement previously announced in July, 2010.

The LLE light engine will provide two to five times the brightness level of a traditional Xenon bulb, making the superior light source ideal for 3D presentation which needs more light - all current 3D systems, other than IMAX, cut brightness up to 80% to split the picture into two separate images, one for each eye. Initially targeted for Digital Cinema projector use, LLE's light source will be available for other entertainment industry applications such as theme park attractions, Rental/Staging and digital signage.

"The explosion of 3D and Digital Cinema worldwide has projector manufacturers and, ultimately, exhibitors looking at our high-brightness light source to replace traditional Xenon arc lamps and solve the brightness issues associated with 3D presentation," said Doug Darrow, CEO, Laser Light Engines. "We will continue growing our business with the current round of financing now closed and look to add to our list of strategic and equity partners that include industry leaders such as Braemar, Harris & Harris and IMAX."

The patented LLE system produces red, green and blue primaries from the same laser. The unique technology offered by LLE eliminates the speckle artifact from all three laser primary colors. LLE has demonstrated fully despeckled 2K and 4K DCinema Standard Evaluation Material (StEM) and other cinema and non-cinema content with all five major brands of Digital Cinema and Large Venue projectors.

"Part of the IMAX Experience® is to ensure the best picture quality possible on our largest screens," said Brian Bonnick, executive vice president of technology, IMAX. "Laser Light Engines' technology will not only enable the highest brightness large format digital 3D presentation in the world, but also drive additional image quality advances."

Laser Light Engines will use the proceeds of this round of financing to commercialize its RGB (Red/Green/Blue) laser technology, dramatically reducing operating costs for movie theater owners for a potential per screen savings of $10,000 a year by eliminating the need to replace expensive Xenon arc lamps (projector bulbs) and reducing electricity use as much as 50%.

LLE's solid-state RGB laser solution can deliver higher brightness than lamps because all of the laser light comes from narrow beams; virtually all of the laser power gets to the projector chips. In contrast, less than 7% of the output of a Xenon lamp reaches the screen. The LLE system provides full brightness over the lifetime of the projector unlike Xenon lamps that decline in output over time

DPI Unveils a Trio of Projectors – HD, 3D, and 4K

http://www.today3d.com/2010/09/dpi-unveils-trio-of-projectors-hd-3d.html

 

Digital Projection International's newest HD projector is the dVision 30-1080p. It utilizes LED lighting to provide what the company is calling "Lifetime Illumination." Since it ditches traditional lamps, the dVision 30 is quiet, cool, and can provide as much as 100,000 hours of life before you need to start worrying about the LEDs.

What would a new projector lineup be without 3D? The M-Vision Cine 400-3D is DPI's latest 3D projector and is priced below $20,000. It uses the same DLP DarkChip tech that you'll find in the rest of DPI's product line, and is made for rooms with little to no ambient light and screens up to 12 feet wide.

If you like the idea of native 2.35:1 support but don't want to worry about upgrading any time soon, DPI's dVision 35-WQXGA can give you an amazing 2560 x 1600 resolution. That's nearly twice that of a 1080p projector, and the enhanced resolution means you won't have to worry about attaching an anamorphic lens

XpanD and Friends at CEDIA Expo

http://www.today3d.com/2010/09/xpand-and-friends-at-cedia-expo.html

 

Sep 23, 2010

XpanD and Friends at CEDIA Expo

XPAND will also debut its brand-new Universal 3D Glasses at CEDIA EXPO 2010.

ATLANTA-In addition to the debut of XPAND's Universal 3D Glasses at CEDIA EXPO 2010, numerous exhibitors entering the 3D market will be using XPAND 3D glasses with their products at the show. Among these exhibitors include Vutec Corporation, Stewart Filmscreen and Digital Projection International.

XPAND's new Universal 3D Glasses can be seen at the Future Technology Pavilion, where cutting-edge technologies for the home are on display at Booth 3874. With XPAND Universal 3D Glasses, anyone can experience the most engaging and dynamic 3D technology with any 3D-ready television display in virtually any environment.

In addition, Digital Projection International will be at Booth 4436 introducing the active-3D enabled M-Vision Cine 400-3D projection screen, used with XPAND 3D glasses. The M-Vision Cine 400-3D delivers immersive 3D imagery for screens up to 12 feet wide.

At Booth 3826, Vutec Corporation will be showcasing its award-winning high-definition Active SILVERSTAR® 3D, used with XpanD 3D glasses. A true, dynamic 3D performance is achieved with SILVERSTAR® by compensating for a 50% light loss with projected 3D images. Silver Star's high-gain, high contrast, vivid color reproduction, and wide, 180º viewing area was developed to provide the ultimate 3D experience for today's dedicated 3-D theater enthusiast.

Stewart Filmscreen (Booth 2026) will also be using XPAND's X101 glasses with a 3D projector to feature its new screen products for the 3D market.

For more information on XPAND, please visit www.xpandcinema.com.

About XpanD:
The global leader in the 3D market, XpanD now sells over 2 million of its stylish, eco-friendly, and completely immersive 3D active glasses to cinemas each year. Its 3D glasses are affordable for cinema owners and home users while providing 3D quality that was originally available only at a professional cost. XpanD has the extraordinary combination of experienced and visionary leadership, state-of-the-art technology, and economies of scale that will provide a backbone for the cinema and consumer electronics industries as they further transition into the 3D future. X6D Limited is a global company whose products and services are marketed under the XpanD brand name. XpanD was created by industry veterans in theatrical exhibition, entertainment, film production and distribution, and specialty film and digital technologies and is funded by a European investment fund. XpanD technology is used by over 3,000 3D cinemas in more than 50 countries and is the default 3D solution for post-production houses, educational and professional 3D applications. XpanD designs, manufactures and OEMs a range of consumer electronics 3D solution

Studio executives discuss potential of 3D

http://www.today3d.com/2010/09/studio-executives-discuss-potential-of.html

 

Posted: 25 Sep 2010 10:45 PM PDT

 

"Who the hell wants to hear actors talk?"
--Harry M. Warner, Warner Bros., 1927

 

NEW YORK--That famously off-the-mark wisecrack, made when the Warner Bros. co-founder was confronted by the advent of talking pictures, was given an airing Friday at the 3D Experience Executive Forum here. Likened to current naysaying about 3D movies and TV, the quote was referenced by David Naranjo, director of product development for Mitsubishi Digital Electronics, along with several other ill-fated predictions in entertainment--as if to say: They'll eat those words!

 

Resisting 3D may be futile, but we still don't know to what extent 3D will invade our lives. That was what executives gathered to discuss. Will 3D be a part of every screen, from TVs to ATMs, as predicted by Jim Chabin, CEO of the International 3D Society? Will it be a staple of learning tools in the classroom, as predicted by Michael P. Guillory of Texas Instruments? Or will it simply be the thing kids get excited about at the movies because it makes dinosaur tails come flying toward their noses?

Chabin said 3D will be omnipresent on all displays because "the cost of making a screen 3D is the same as making it color. It's nothing. It's just another chip and a little more gas." What holds up adoption is consumer confusion. The lack of a standard for 3D glasses is confusing enough, but couple that with the fact that most consumers don't understand that a 3D TV is also a 2D TV and what is left is an adoption cul-de-sac. Studios and hardware manufacturers love the potential. Consumers don't know what to think.

 

Much like high-definition TV, consumers may not initially understand the need to pay more for 3D content through their cable boxes. Delivering 3D content will heavily tax the Internet service provider, even if the format is properly compressed, meaning that already-pricey cable TV will be even pricier with 3D channels.

 

Of course, content is king, but the format is too nascent and, at times, too kitschy.

 

"You can't take a bad movie, turn it into 3D, and make it a good movie," said Richard Gelfond, CEO of IMAX Corporation.

 

What you can do is convert 2D content into 3D content, but not everyone thinks that approach produces the best results. 3D purists think movies should be conceptualized and shot in 3D from the get-go. Others think conversion is an essential way to jump-start the 3D brand.

 

"There is generally about 15 to 30 percent savings when you shoot in 2D and convert to 3D," said Dr. Barry Sandrew, president of Legend 3D.

 

Though 2D conversion is expensive and time consuming, the fact that consumers pay more for tickets to 3D movies provides some incentive. But in the theater, 3D is a novel outing. At home, 3D can be a distraction. You can't multitask while watching a 3D film, and you can't wear any glasses besides those intended for the specific television set you purchased.

 

"Will consumers wear glasses in the home?" asked Robert Mayson, president of RealD. "Speaking as someone who has worn glasses in the home since 11 years of age, the answer is yes. But the content has to be good enough."

 

Just because Mayson is willing to wear another set of glasses doesn't mean everyone will be. And don't hold your breath for a glasses-free 3D TV anytime soon.

"Autostereo, or glasses-free, is of course the holy grail, but you have to get there at the right quality," said Mayson. "Nobody really knows when that will come. My personal opinion is that it has to do with quality of image--and when that happens at a price us mere mortals can afford."

3D Cinema- Hollywood/Bollywood - The Economic Times

http://economictimes.indiatimes.com/news/news-by-industry/media/entertainment-/entertainment/3D-Cinema--Hollywood/Bollywood/articleshow/6575832.cms

18 Sep, 2010, 01.01AM IST, Nandini Raghavendra,ET Bureau

It was sheer co-incidence that Ranjit Thakur's first 3D movie experience — Chicken Little — was at a theatre in Burbank, California, home to some of the biggest boys of Hollywood-Disney, Warner, Universal and Paramount. The depth of Disney's hilarious egg-stravaganza, the audience reactions to the 3D experience, combined with its box office success, ($314.4 million in '05) set the 31-year-old Thakur's mind onto the path of entrepreneurship.

Of course, though Disney's film was the first fully computer-animated movie distributed in digital 3D format, it came on the back of more than seven years of in-field usage and commercial testing. Going forward, Thakur was confident that 3D was set to create box office history not only in the US but also in India and no, he had no clue of James Cameron's dream then.

Rewinding to a couple of years before Thakur's Burbank cinema experience-another young entrepreneur was ready to embark on a digital journey, though of a different kind-Sanjay Gaikwad-to develop a digital technology which was affordable for the Indian exhibitor and propelled the Indian producer to slate for 3D production as well. So even as Thakur dreamt of building a platform for Hollywood's six big boys (Disney, Warner, Universal, Paramount, Sony and Fox) of the studios to roll out their 3D celluloid fare, Gaikwad was busy putting his engineering skills to developing the same quality of experience but cheaper, to ensure a wider roll-out and faster.

Both set out, Gaikwad got a early start, while Thakur moved back to California in '07 and began interning with Jack Kline, President of Christie Digital, widely acknowledged as the man who pushed the Hollywood studios to pursue the digital dream and unleashed the power of 3D across the US and other parts of the world. Christie's was also one of only three licensees of the 2K chip from Texas Instruments. "It was clear that both digital and 3D held huge scope in India, but if India was to become a strategic market it had to be Digital Cinema Initiatives (DCI)-compliant to ensure that they could play content from the six big Hollywood studios," says Thakur.

Created in '02, DCI, is a joint venture of Disney, Fox, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios with a primary purpose to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control. In DCI lay the seeds of Scrabble Entertainment. With `5 crore as seed money, Thakur signed with Christie's to set up 200 screens in India in '07 and one year later released the first 3D movie, Journey to the Centre of the Earth in PVR Gurgaon and Fun Republic Mumbai.

Kodak announces 3d Laser Projector

http://www.today3d.com/2010/09/kodak-announces-3d-laser-projector.html

 

Eastman Kodak announced Thursday it has built a prototype d-cinema projector using laser projection technology, a "tech holy grail" that promises to solve several problems for digital cinema and digital 3D.

Kodak, which is showing the system to industry leaders at its Rochester, N.Y. theater, said the projector produces deep blacks, wide dynamic range and a bright 3D image.

Lasers are smaller than existing projector lamps, and run cooler, so they reduce air conditioning requirements. They also draw less power, reducing ongoing costs for digital projection

Luxottica to launch 3D passive glasses

Sep 16, 2010

http://www.today3d.com/2010/09/luxottica-to-launch-3d-passive-glasses.html

Italian eyewear giant Luxottica said on Wednesday it would launch the world's first range of glasses for watching 3D films with prescription lenses through its US brand Oakley later this year.

Oakley "has achieved unparalleled visual clarity while extending the wearer's peripheral viewing angle and providing a truer alignment of 3D images," Luxottica said in a statement.

Luxottica said it has been using the workshops of US industry giant DreamWorks Animation for testing.

The company said "premium editions in the new line will be the first 3D eyewear on Earth with optically correct lenses".

The first pairs of 3D glasses will be available in the United States later this year and will be launched in the rest of the world in 2011.

The Glasses are passive and will not work with 3DTVs

Barco Unveils 3D Cinema Projector for Post

http://www.today3d.com/2010/09/barco-unveils-3d-cinema-projector-for.html

 

Barco has unveiled a brand-new cinema projector specifically intended for digital post-production.

The company says the Barco DP2K-P is the world's only enhanced 4K-ready projector specifically conceived and built to meet the enhanced performance needs of post-production houses. The fit-for-purpose post-production projector builds on the DP2K B-series products, from which it inherits benefits such as light efficiency, low cost of ownership and ease-of-use.

To respond to the highly specialized needs of post-production houses, the new DP2K-P features an expanded color gamut that is wider than the current DCI recommended color space.

In addition, the company says the projector sets itself apart by delivering more brightness uniformity and more contrast than any other projector, which results in increased image detail, especially in low light regions. 

Along with the new DP2K-P, Barco will also release a special version of the accompanying Communicator software, enabling users to customize their 2D and 3D look-up tables. Thanks to this increased control over the color space, post-production professionals can do their job with an unprecedented level of accuracy.

 

 

Cinema Exhibitor's Association Tackles Alternative Content

http://www.digitalcinemareport.com/node/1963

Submitted by Nick Dager on Tue, 09/14/2010 - 17:14.

By Melissa Keeping

“Despite the hurdles, Alternative Content is definitely growing,” was how Christine Costello summed up the positive mood at the CEA’s Alternative Content Conference in Manchester this week. There are undoubtedly challenges to overcome, but every business idea faces obstacles and this is no different.  Digital deployment in Europe has seen unprecedented increases in the last 12 months, with a 192 percent jump and at last count, 4580 screens now up and running, according to Screen Digest. France is the clear leader, followed by the UK with Germany and Italy catching up behind.

Any alternative content project is 100 percent reliant on marketing for its success, and when you only have one or two screenings the marketing budget will need to be necessarily small, but focused and creative.  Then you have the protracted business of acquiring rights, which can take between 12-18 months on average; you will be competing with other providers to access those rights, which costs money, takes time and most of all, good contacts.

But get all these ingredients right, and you have a very marketable product on your hands and exhibitors like Mark Dobson were waxing lyrical about the audience reaction.  Mark runs the Tyneside Cinema in Newcastle, and reported that having initially been extremely skeptical about the potential of alternative content, is now verging on the evangelical, such are the results at his small independent cinema, citing a marked rise in the number of new customers who would normally stay well away, turned off by mainstream studio fare.

He reported that this new, affluent audience not only paid more per ticket, they were willing to pay up front for a whole season of opera, and paid more while they were there in concessions. The turnout was higher than on average and the audiences are clamoring for more too.  Building on that new audience is key to sustaining interest and ultimately, revenue.

The usual suspects were discussed at length: opera, theatre, ballet, sport, gaming etc.  Concerts are way ahead in the popularity stakes with established forms of AC are clearly worth the effort and cost involved in staging them, but their reach is limited, aimed at the 18-34 age group primarily.  Surprisingly, kids’ TV shows turned into live performances, such as Thomas the Tank Engine and Bob the Builder garnered a 70 percent occupancy rate, higher than any of the other rock/pop, sport or comedy events staged by the Vue Entertainment cinema chain this year.  Opportunities for merchandising at the event are enormous, adding more value to the event.

Other areas that got exhibitors, distributors and content providers excited were education in the form of university lectures, live surgery, classic movies remastered in 3D, series of documentaries and soap opera finales, comedy, talks, X-Factor Final Eurovision Song Contest (both with interactive voting), away games for football, golf, horse-racing, boxing and lesser-known sports in the UK such as NBA, pro-wrestling etc.  Again, creative though these ideas are, finding a way to turn them into revenue streams remains the real challenge here.

Everyone sobered up when conversation turned to the fracas of the World Cup this summer, and agreed lessons had been learned.  The worry is that with the Olympics only two years away and the next World Cup on the horizon, will deployment, licensing, distribution, (not to mention the power games being played by TV companies, rights holders and FIFA,) be any more settled next time round? Few were willing to bet much at this point.

Alternative Content’s biggest problem is it is defined only by what it is not.  It is an alternative to the mainstream and as such, is suffering from an identity crisis.  It needs a name that stands alone, that identifies it for what it is.  "Additional Programming" is inadequate. "Alternative Content" is too vague, too reliant on its opposite.  As a result, marketing Alternative Content currently is fraught with difficulty and Elizabeth Draper from Arts Alliance Media explained how often she is shunted from Cinema Listings to About Town to Classical Music when trying to place her PR & Marketing in the press. 

“Alternative Content isn’t film, it isn’t theatre. It’s something else.”  Crucially, until this hurdle is overcome, alternative content will remain in the margins, along with its box office.

 

Hollywood's 3D Miscalculation

http://www.digitalcinemareport.com/node/1947

Submitted by Nick Dager on Tue, 09/14/2010 - 12:18.

 

This is not another one of those articles predicting the death of Hollywood and its influence on the worldwide cinema scene. Hollywood, after all, if still capable of releasing movies such as this summer’s well deserved critical and box office successes Toy Story 3 and Inception. But this is an article suggesting that some of the decisions made of late by current studio executives seem certain to backfire sooner rather than later, if they haven’t already. How else to account for the twin facts that, as has been widely reported, summer movie attendance fell to its lowest number since 1997, yet revenues set a new record at $4.35 billion?

The reason for this, as has also been widely reported, is the fact that Hollywood released a record number of movies it said were 3D and theatres charged a higher price for those movies. I said that many of these were called 3D but, as anyone who has been paying even the slightest attention knows, most of them were shot in 2D and converted in post-production to something like 3D.

Audiences are beginning to notice the difference and are voting with their limited dollars. Hollywood.com estimated that the number of tickets sold from the first weekend of May through the U.S. Labor Day holiday was expected to drop 2.6 percent to 552 million, the lowest attendance since summer moviegoers bought 540.3 million tickets in 1997. In turn summer box-office revenue was expected to rise 2.4 percent to a record $4.35 billion in the U.S. and Canada as higher prices more than made up for the lower attendance, Hollywood.com estimated. The average ticket price increased 5.1 percent to $7.88 from last year’s $7.50, the biggest gain since a 6.3 percent jump in 2000.

Studios released seven sequels this summer, fewer than the 10 that came out during the summer of 2009, according to Hollywood.com. This year, 13 films generated more than $100 million in domestic ticket sales, down from 15 a year earlier.

Undoubtedly Hollywood studio executives are making the case to their corporate bosses that the poor numbers are a reflection of the bad economy. They are not. The economy was even worse last summer and, although it was admittedly thanks in large part to Avatar, last year was a record year in both box office attendance and revenue.

Which makes my point. Audiences will pay for good movies and will pay extra for well-made stereoscopic 3D movies. Avatar proved that last year and Toy Story 3 and Inception proved it again this year.

Undoubtedly there are factions inside Warner Bros who are cursing writer/director Christopher Nolan for refusing to allow the studio to convert Inception to 3D. Would that have enabled the movie to make more than the $277 million it was estimated to have earned? That’s a question that can never be answered definitively but I suspect not. It most certainly would have contributed to higher opening weekend revenues but audiences have demonstrated in recent weeks that they don’t find converted 3D movies nearly as compelling as movies created in stereoscopic 3D. Personally, I applaud Nolan’s decision and I don’t think a converted-to-3D version of Inception would have continued to attract sizable audiences months after it opened.

Even those people who are the most careful at converting a film from 2D to 3D will concede that the laws of physics will only allow them to go so far. The results can be very effective but they pale next to a movie that was skillfully shot in 3D. And, as this summer’s box office shows, the public at large is aware of the difference and are not willing to pay extra for it.

The question remains: have studio executives in Hollywood learned a lesson from this? A show of hands: who agrees with me that the likely answer is No?

 

Sony and TOHO Cinemas in Agreement for Total Digital Cinema System Solution

http://www.digitalcinemainfo.com/sonyprofessional_09_01_10.php

September 2, 2010

Source: Sony Digital Cinema

Sony Corporation and TOHO Cinemas Inc., the largest theater chain in Japan, have reached an agreement to install a total digital cinema system solution.

Through this agreement, Sony 4K Digital Cinema projection systems will be installed in all TOHO Cinemas sites for each of the exhibitor’s 545 screens, not including co-operated theaters.

The installation is planned to be completed by December 2012.

Sony will provide TOHO Cinemas with a total digital cinema system solution, which mainly consists of Sony 4K digital cinema projectors and projection servers.

Specifically, a theater projection system is connected through a network and is composed of a Theater Management System (TMS), which centrally controls content, and a central server system.

Sony will also provide TOHO Cinemas with designated maintenance and service including a customer call center, remote hardware and system monitoring, and periodic maintenance.

TOHO Cinemas can also utilize Sony’s comprehensive hardware, system, and service while reducing initial startup and maintenance costs.

"We value Sony's accomplishments in the digitalization of theaters, which it has achieved through cooperation with major Hollywood studios, domestic/overseas studios and distribution companies,” said TOHO Cinemas. “Sony is also the only company which can provide the high-resolution 4K projector as well as a complete and future-proof projection system.”

Recently, digitalization in the movie industry has been rapidly accelerating, and the number of screens with digital projection systems has been quickly expanding. According to estimates by the research firm Screen Digest, the number of digital screens will increase globally from 16,000 in 2009 to 25,000 in 2010, while the number of digital screens in Japan will double from 400 to almost 800.

Through digitalization of theaters, content can be maintained in master quality without deterioration from scratches or dust. Also, theaters have the flexibility to show alternative content such as live theater, concerts, and sporting events, thus creating additional revenue streams and increased programming options for customers.

Sony will continue to promote its “Digital Cinema Solution Service” to domestic movie studios, distribution companies, and entertainment companies, and drive digitalization of theaters worldwide.

 

 

FTT has recently opened its own subsidiary in Belgium

http://www.digitalcinemainfo.com/FTT-Film-Ton-Technik_09_06_10.php

September 6, 2010

Source: Film Ton Technik (FTT)

The expansion stage of the Düsseldorf-based cinema outfitter continues. Having set up own branch offices in Poland, Holland, Austria and Hungary, FTT opened its own representation in Belgium and Luxemburg on 1st September 2010.

The company FTT Digital Cinema Belux S.A. is a joint venture with the company Professional Cinema Sound of Serge Lambillotte, an industry veteran with long-standing experience in cinema technology.

As far as business development is concerned, one is also relying on the tried and trusted: In this context, Till Cussmann, who already acted as XDC’s Business Development Manager for the German-speaking market between 2006 and 2007, is expected to be the connection between the customers in Belgium and Luxemburg and the German mother company.

Thomas Rüttgers, Chairman of the Board of Management of FTT, said: “Having pooled our forces with XDC at the beginning of the year, this new branch is the corollary to be able to offer customized services in our core segments. Of course, we look forward to working with Serge Lambillotte and also Till Cussmann whom we have known and come to hold in high regard for many years.”

Serge Lambillotte added: “We have already been working with FTT in the field of digital installations for a long time and therefore the time has come to put this co-operation on a new platform.”

On the Dutch market, FTT had already been able to assert its market-leading position in the field of digital cinema for several years and it therefore remains interesting to see whether a similar result can be achieved on the Belgian and Luxemburgish markets.

However, the expansion across Europe is not yet completed for FTT following this success. Further joint ventures, among others in Czech Republic and Romania, will be established shortly.

 

DLP Cinema Delivers Enhanced 4K Chip to Light Up The Biggest Screens

http://www.digitalcinemainfo.com/texasinstrumentsdlpcinema_09_02_10.php

September 2, 2010

Source: Texas Instruments DLP Cinema

Texas Instruments DLP announced it has started shipping DLP Cinema Enhanced 4K chips to its licensees, Barco, Christie Digital and NEC.

Projectors with the DLP Cinema 4K chip are expected to be installed in Q1 2011 and several industry demos are anticipated between now and then by DLP Cinema licensees.

With the availability of this chip, DLP Cinema offers exhibitors the widest variety of stable resolution options to suit their needs at any screen size.

"Regardless of resolution option or screen size, exhibitors can count on DLP Cinema's award winning technology to deliver all the light, to all the pixels, all the time," said Dave Duncan, business manager for Texas Instruments, DLP Cinema Products.

DLP Cinema's 4K chip will enable its licensees to manufacture the brightest and most energy efficient digital cinema projectors in the world. In addition, all projectors utilizing the new 4K chip will be designed to meet the Digital Cinema System Specifications developed by DCI, LLC for established image quality and security. Currently, all DLP Cinema 2K projector models with the next generation DLP Cinema electronics platform are DCI compliant.

Exhibitors will likely install the DLP Cinema 4K solution to light up theatre screens as wide as 100 feet and 3D screens as wide as 75 feet, which has been a challenge for competing technologies. All DLP Cinema projectors, regardless of the resolution, have the leading attributes for which DLP Cinema products are known, including precise DCI compliant colors, superior contrast ratios including greater than 2500:1 and light output necessary to illuminate the largest auditoriums.

"DLP Cinema remains dedicated to providing the cinema industry with diverse platforms in both 2K and 4K solutions," said Kent Novak, senior vice president and general manager for DLP Products. "Texas Instruments will continue to innovate and further the development of its DLP Cinema 2K chips which are indisputably the industry standard, including the capability of upgrading the newest 2K projectors to 4K."

 

Barco unveils dedicated Digital Cinema projector for post-production

http://www.barco.com/digitalcinema/pressrelease/2594/

 

IBC Convention, Amsterdam, The Netherlands, 9 September 2010 – At the IBC Convention in Amsterdam, Digital Cinema pioneer Barco will unveil a brand-new cinema projector specifically intended for digital post-production. The Barco DP2K-P is the world's only Enhanced 4K-ready projector specifically conceived and built to meet the enhanced performance needs of post-production houses.

 

Barco's fit-for-purpose post-production projector builds on the proven platform of its DP2K B-series products, from which it inherits widely acclaimed benefits such as best-in-class light efficiency, lowest cost of ownership, and ultimate ease-of-use. At the heart of the projector is Texas Instruments' 1.2” DLP Cinema® chip – a forward-looking choice for 4K compatibility.

To respond to the highly specialized needs of post-production houses, the new DP2K-P features a greatly expanded color gamut that is considerably wider than the current DCI recommended color space. In addition, the projector sets itself apart by delivering significantly more brightness uniformity and more contrast than any other projector, which results in increased image detail, especially in low light regions.

Along with the new DP2K-P, Barco will also release a special version of the accompanying Communicator software, enabling users to fully customize their 2D and 3D look-up tables. Thanks to this increased control over the color space, post-production professionals can do their job with an unprecedented level of accuracy.

The launch of the DP2K-P continues Barco's history of innovation in the post-production arena. The company developed its expertise in this market with its D-Cine Premiere DP90P projector, the first dedicated digital post-production projector on the planet, which quickly became the standard worldwide. In addition, Barco has demonstrated its commitment to the post-production market segment with several other products, including the RHDM-1701P and RHDM-2301P grade-1 LCD displays for video reference tasks.

Doremi Technologies to show new products at IBC centre on developments for 3D and Digital Cinema

http://www.digitalcinemainfo.com/doremi_08_27_10.php

August 27, 2010

Source: Doremi

Doremi Technologies is a leading developer and manufacturer of video servers for the broadcast and professional markets and has also achieved a leading position in digital cinema. Its technology continually breaks cost barriers, delivering high quality and performance at affordable prices. Video products include high-performance video servers and players operating up to 4K, as well as converters for baseband and file-based content – including 3D. Digital cinema products feature the world’s leading DCI player, the DCP-2000 that continues active development, as well as mastering systems.

New products at IBC centre on developments for 3D and Digital Cinema. With its unique, wide experience in this market, Doremi is introducing new tools aimed at enhancing digital cinema operations and the audience experience. There are new innovations on show for DCI mastering, streamlining the set-up and running of theatres as well as the handling of the rapidly expanding alternative content market.

StreamIt
StreamIt is a broadcast MPEG2 video streamer companion device for Doremi DCP-2000 and DCP-2K4 digital cinema players. It connects to a satellite receiver and converts an IP source (MPEG2-HD with PCM or AC3 audio) into a 1Gb/s IP stream of 2D and 3D content for up to four Doremi players – allowing last minute scheduling and removing the expensive audio and video wiring by a simple Ethernet cable.

Dimension-3D
Dimension-3D offers unique and highly versatile 3D format conversion from any standard 3D format to another, including frame rate changes. Standard video formats are supported from HD to 2K. Dimension-3D accepts both dual and single stream HDSDI as well as HDMI inputs and outputs.

The versatility of Dimension-3D means it fits virtually all stereoscopic workflows. It allows any 3D input stream format to be used with all types of display components currently available, including high-end projectors and the latest generation 3D-ready LCD displays. By encoding and decoding between two, left and right eye, streams and a single HDSDI stream from Dimension-3D, enables recording 3D content on standard ‘2D’ HD tape and server technologies.

Digital Cinema Mastering Solutions

RAPID Mastering Stations
The new RAPID Mastering Stations are the next generation DCI-JPEG2000 digital cinema mastering solutions with extensive encoding parameter controls and support for bit rates up to 250 Mb/s. They combine all the tools for 2K and 4K image compression processing in one 4RU package. The new high quality variable bit-rate (VBR) encoding produces the best possible image quality with significantly smaller files than those achieved with constant bit rate encoding – allowing reduced duplication time and distribution costs. RAPID includes Doremi’s Dolphin hardware acceleration technology for super-fast JPEG2000 compression in a 64-bit Linux package complete with internal media storage.

RAPID is available in two versions – RAPID and RAPID-2x. Both include fast quad-core CPUs with hardware acceleration from Doremi Dolphin boards. RAPID has one Dolphin board and can encode 2K JPEG2000 at up to 12 f/s. For RAPID-2x with two Dolphin boards the 2K compression speed doubles 24 f/s. Both can include 4K compression at 2 or 4 f/s respectively. The platforms include RAID5 media storage of 3 or 5 TB respectively.

CineAsset 4.4.44
CineAsset is Doremi’s software-based mastering solution for digital cinema. It converts popular video formats files to JPG2000 compressed images and creates unencrypted MXF wrappers for digital cinema playback on any digital cinema server including Doremi's DCP-2000, DCP-2K4, DSV-J2 and the ShowVault server. This is ideal for assembling pre-show adverting and locally sourced material. CineAsset-PRO is a variant that provides multi-threading and so faster conversions.

The latest version, CineAsset 4.4.44 now adds image scaling to fit the projector’s output, and conversion to the XYZ colorspace used in DCI digital cinema.

CineAsset software is available for MAC OS X and Windows XP Professional and Vista operating systems at www.doremicinema.com

Test and measurement

Qalif
Qalif provides a straightforward and quick way to set up and calibrate the output of a digital projector chain. Not only does it accurately check focus but also many other parameters including colorimetry and uniformity with complete analysis of the whole surface of the screen.

The system comprises a digital stills camera that is connected by WiFi to a PC in the projection room so a single trained operator can control and adjust the projector and instantly see the analysis of the results. A step-by-step software-guided calibration procedure allows quick and easy set up and measurement with only three snapshots needed for a complete evaluation of the projection performance. The results for colorimetry, contrast, uniformity, etc, are displayed in user-friendly graphics and any appropriate adjustments can quickly be made. Qalif generates reports to keep a history of calibration and records that may be used for a thorough analysis by specialist.

Qalif is a cost-effective single system built specifically for the job of calibrating digital projection chains and includes a pluggable carrying case for fast and easy installation and removal. It replaces the three separate costly measurement tools of traditional equipment, combining these into one system that delivers more flexibility and faster accurate results.

 

 

Market Monitor: Digital and 3D market trends in Western Europe Q2 2010August 26, 2010

http://www.screendigest.com/reports/2010726a/10_08_digital_cinema%20_market_trends_western_europe_q22010/view.html?start_ser=ci

 

August 26, 2010

 

By Charlotte Jones

Total digital screens rose by a further 16.5% in Q2 2010, following a similar hike in Q1, as the economic benefits of 3D continue to provide the major impetus to upgrade to digital. A total of 3,875 3D screens were active at end H1 2010 in Western Europe, accounting for 73% of the total digital screen base, a higher ratio than three months prior (Q1). Over 65% of the active digital 3D systems were deployed in the past 12 month period alone, showing that this has been the most dynamic growth phase for 3D yet.

The UK was the most active d-cinema territory in Q2 2010, adding 214 screens and thereby exceeding the 1,000 digital screen threshold; only the second territory in Europe to do so. Following a significant drive by the leading cinema circuits in the UK including Odeon and Cineworld, over 21% of all UK cinema screens are now 3D enabled as at end H1 2010.

Together, the top five markets in Western Europe (UK, DE, ES, IT, FR) account for the majority of total digital screens deployed. This report focuses on the leading cinema exhibitors in Western Europe, providing insight on the ratio of screens converted to digital and 3D, the type of digital equipment installed and the choice of third party integrator.

Highlights:

·         Total digital screens in Western Europe increased 16.5% to hit 5,278 in Q2 2010

·         Over 73% of digital screens in Western Europe are also 3D enabled.

·         UK and France together accounted for over 50% of net installations in Q2 2010

·         UK's major circuits control over 87% of 3D screens in the territory

·         Over 21% of UK screens are also 3D enabled, compared with just 8% in Spain

In this report:

·         Digital screen base rose 16.5% in Q2 2010

·         UK accounted for 28% of Q2 net installs alone

·         3D continues to drive momentum

·         Over 73% of digital screens in W Europe are 3D

·         Top German circuits have 16% of screens allocated to 3D

·         One quarter of screens already 3D for top UK circuits

·         France extends lead as largest European market

·         Top circuits account for one quarter of 3D screens in Italy

·         Spain's top circuits have only 8% of screens as 3D

·         NEC accounts for over 40% of net Q2 projector units

·         RealD accounts for majority of net 3D installs in H1

Tables and charts included:

·         Cumulative d-screen deployment in Western Europe (Q2 2007 - Q2 2010)

·         D-screen deployment in top five European territories by quarter (Q2 2007 - Q2 2010)

·         Q2 2010 net digital installations ranked by territory

·         Digital screen penetration in % as at H1 2010, ranked by territory

·         Digital screens split by 2D and 3D capability (Q2 2008 - Q2 2010)

·         3D as a % of net digital installations in Western Europe (Q2 2008 - Q2 2010)

·         3D as % of total digital , ranked by territory, Q2 2010

·         Digital 3D screens ranked by territory (Q2 2010)

·         Proportion of cinema sites converted to digital, ranked by territory Q1 2010

·         Distribution of 3D-screens by circuit in France

·         Digital Exhibitor Profiles: France

·         Distribution of 3D-screens by circuit in UK

·         Digital Exhibitor Profiles: UK

·         Distribution of 3D-screens by circuit in Spain

·         Digital Exhibitor Profiles: Spain

·         Distribution of 3D-screens by circuit in Italy

·         Digital Exhibitor Profiles: Italy

·         Distribution of D-screens by circuit in Germany

·         Digital Exhibitor Profiles: Germany

·         W Europe: net new digital projector units added by manufacturer Q2 2010

·         W Europe: total digital projector units installed by manufacturer Q2 2010

·         Screens by 2K vs 4K resolution

·         W Europe: net new digital 3D system units added by manufacturer Q2 2010

·         W Europe: total digital 3D systems deployed by manufacturer Q2 2010