Barco and Cine Colombia S.A. expand digital cinema's reach in Latin America

http://www.barco.com/digitalcinema/pressrelease/2417/

Cine Colombia S.A., Colombia's largest exhibitor, and Barco, Latin America's largest digital cinema distributor, expand their solid partnership with an agreement that includes Barco DP-1500 projectors and ACS-2048 multi-format switchers.

Sacramento, CA — 23 October 2009 — Barco, a global leader in digital cinema technology, today announced an agreement with Cine Colombia S.A. to supply 20 Barco DP-1500 digital projection systems to multiple theatre sites throughout Colombia. Each projector will be 2D/3D capable, and each will be configured with Barco's ACS-2048 “alternate content” switcher.

As a progressive exhibitor with over 200 screens in operation across Colombia, Cine Colombia is not new to the digital cinema domain — nor are they new to Barco. Throughout the remainder of 2009, the first new Barco deployments will be placed in Cine Colombia sites in the major population centers of Bogota, Cali and Medellin. Starting in 2010, Cine Colombia will deploy additional Barco projection systems in the country's secondary markets of Cartagena, Barranquilla, Pereira, Armenia and Manizales.

The digital cinema package selected by Cine Colombia is ideal for the market. The DP-1500 is purpose-built for screens up to 15m (49') wide, and offers Barco quality and reliability in an affordable and compact package. The ACS-2048 is the perfect peripheral for all Barco digital cinema installations. This eight input “universal” switcher enables exhibitors to scale both analog and digital inputs up to the full digital cinema format. In this way, Cine Colombia can expand each theatre's revenue stream, as a versatile presentation facility for events, businesses, meetings and more.

“Our mandate is quality and excellence, and Barco provides exactly what we are looking for,” said Munir Falah, President and CEO of Cine Colombia. “Because of their product performance, reliability and value, we're advancing our partnership with Barco. We have worked with other manufacturers, and we choose carefully. Barco's reputation of excellence is well-earned.”

Cine Colombia's notable expansion comes just as ShowEast commences in Orlando, Florida. Because ShowEast draws a large contingent of exhibitors from all across Latin America, a significant portion of the exhibition's programming is specifically modeled for the attendees from South America, Central America, Mexico and the Caribbean.

“We're honored to again be working closely with Colombia's largest exhibitor, and helping them expand the magic of digital cinema throughout the world's third largest Spanish-speaking country,” said Scott Freidberg, Barco's Vice President of Sales for Digital Cinema, NA. “Cine Colombia has truly recognized both the success and the investments that Barco has created in Latin America, and by their actions, it's evident that they choose only the finest partners. Their theatres are in the best locations, the equipment is superb, their staff is excellent, and each theatre provides customers with an unsurpassed environment in which to watch a movie.”

About Cine Colombia S.A.

CINE COLOMBIA was founded in 1927 in Colombia. Since then, it has evolved into one of the largest and most important motion picture exhibition and distribution companies in Latin America. With over 31 theaters and 200 movie screens, the company today stands as the largest movie circuit in Colombia and serves over 10 million guests annually in over 10 cities around the country. Next year, Cine Colombia will be inaugurating three more theaters with 27 new screens, for a total of 34 theaters by the end of 2010.
Cine Colombia´s high standards of service and innovation have been part of the reason for its undisputed place as the number one market share leader in Colombia, despite the presence of numerous players and foreign movie chains in the Colombian market over the past 20 years.
The company's commitment to technological development was evident when it became the first movie company in Colombia to implement a digital projector in 2007. In 2008, seven new digital projection systems were installed. Its recent acquisition of 20 projectors from Barco attests to Cine Colombia's pledge to be a forerunner in technological developments. By 2010, nearly every one of Cine Colombia's theaters will have a digital projector, demonstrating, once more, why it is the best choice for those seeking a variety of movies and entertainment content in Colombia.

About Barco

Barco, a global technology company, designs and develops visualization products for a variety of selected professional markets. Barco has its own facilities for Sales & Marketing, Customer Support, R&D and Manufacturing in Europe, North America and Asia Pacific. Barco (NYSE Euronext Brussels: BAR) is active in more than 90 countries with about 3300 employees worldwide. Barco posted sales of 725 million euro in 2008.

Cinedigm Announces Agreement With Warner Bros. Entertainment Inc. to Supply Content to Cinedigm-Enabled Digital Cinema Systems

http://investor.cinedigm.com/releaseDetail.cfm?ReleaseID=417967

 

Agreement Marks Major Step Forward in Cinedigm's "Phase Two" Deployment of Up to 10,000 Digital Cinema Projection Systems

MORRISTOWN, NJ, Oct 26, 2009 (MARKETWIRE via COMTEX News Network) -- Cinedigm Digital Cinema Corp. ("Cinedigm") (NASDAQ: CIDM) today announced an agreement with Warner Bros. Entertainment Inc. by which Warner Bros. will supply movies in DCI-compliant digital form to Cinedigm-installed theaters in the United States and Canada. The Warner Bros. Domestic Distribution agreement represents another major milestone in Cinedigm's Phase Two Digital Cinema Deployment Plan, which is designed to eventually deliver content to as many as 10,000 additional digital cinema projection systems. Warner Bros. will also pay Virtual Print Fees (VPFs) to promote conversion to DCI-compliant digital cinema technology.

Warner Bros. was an early supporter of Cinedigm's Phase One Deployment Program. During Cinedigm's Phase One deployment, which commenced in the fall of 2005 and was completed in the fall of 2007, more than 3,700 digital cinema systems were converted from film across the United States.

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

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

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

 

HMV cinemas: coming to a high street near you

http://www.guardian.co.uk/business/2009/oct/25/hmv-curzon-artificial-eye-cinemas

Joint venture with Curzon could deliver earnings of £3m

guardian.co.uk, Sunday 25 October 2009 16.06 GMT

HMV group has joined forces with cinema operator Curzon to launch a chain of cinemas on the high street. Photograph Newscast

"It's like two of your best friends getting married," gushed Four Weddings and a Funeral director Richard Curtis. "Can't think of a better combination," enthused Stephen Fry.

At advance screenings last week, actors and Hollywood glitterati gave rave reviews to a partnership between HMV and cinema operator Curzon that could create a new national chain.

The joint venture is part of HMV chief executive Simon Fox's plans to turn the retailer into an entertainment group for all seasons.

It taps into a rich vein, as cinemas are booming. The downturn, and cheap DVDs at the supermarket, have not deterred cinema-goers, with the industry enjoying increases in box office and admission numbers. There is also a buzz around a new wave of 3D films thanks to the cartoon Up and James Cameron's hotly anticipated Avatar. "Cinema tends to be recession resistant as it offers inexpensive escapism," says Philip Knatchbull, chief executive of Curzon Artificial Eye, which is joining forces with HMV.

Cinemas began to disappear from towns in the 1980s as developers anchored their new retail parks with giant multiplexes.

But Knatchbull says there is a gap in the market: "There are the multiplexes on one side and the indies on the other. The same person can enjoy a blockbuster like Dark Knight and the Palme d'Or winner White Ribbon."

Unlike in the US and Spain where attendance is dwindling, UK cinema admissions increased 1% to 164m in 2008.The industry enjoyed its best summer since 1969 as films including Abba romp Mamma Mia pulled in the crowds. According to UK Film Council data, the box office take rose 3.5% to £850m, with figures pointing to significant growth again this year.

Fox says the HMV Curzon is a new breed of cinema that is miles from the "coke and popcorn" experience of the multiplex. "This is about bringing cinema to the high street, not visiting a soulless retail park." If it is well received, the two companies plan to begin converting dead space above HMV's stores into cinemas.

The first venue, which opened in Wimbledon last Friday, has a studenty feel with licensed bar and pictures of Clint Eastwood and Audrey Hepburn signalling the gents and ladies' loos. Unlike some theatres, customers can take their drinks in with them. "We want this to be a superior experience," says the lanky Fox, as he settles into the roomy seat before a screening of The Imaginarium of Doctor Parnassus.

Fox has a tough brief. He needs to rebuild profits at HMV Group, which also owns Waterstone's bookshops, and is proceeding on many fronts, converting stores into gaming centres and buying 50% of music venue operator MAMA Group to gain a foothold in the lucrative live music scene.

This imaginative thinking attracted the attention of headhunters seeking a new leader for troubled broadcaster ITV but he has publicly demurred several times over: "I am very happy where I am," he said.

Fox still has a long way to go. Annual profits of £62.5m are still half those enjoyed by the group back in the heady days of 2005 when it made £131m.

The cinema landscape is dominated by five chains which have three-quarters of the market. Odeon, the largest, with 107 cinemas, is owned by private equity firm Terra Firma. Behind it Cineworld and Vue have 74 and 63 sites respectively. Curzon has just 5 sites in its own right but the link up with HMV means it has scope to gain scale quickly should the Wimbledon trial be deemed a success. Singer analyst Matthew McEachran estimates a 20-strong chain could deliver earnings of £2-3m. Recent speculation has focused on the health of Waterstone's rather than HMV. Industry magazine the Bookseller has reported delays with customer orders and other problems arising from its new state-of-the art distribution "hub" in Burton-on-Trent. Fox dismissed the reports, adding: "I am very confident there won't be a problem supplying stores this Christmas."

There is no doubt cinema is a neat fit for HMV. The audience for the top 20 films in the UK is predominantly young, with 7-34 year-olds making up 64% of the audience. Now the resurgence of 3D means the industry is entering a new phase some have billed as being as important as the shift from silent films to talkies. "3D is a fantastic step forward for the industry as it's an experience that can be created at home," says Cineworld chief executive Steve Wiener. From now on all Disney and Pixar's animated films will be in 3D, with Wiener pointing to a pipeline of 30 movies including Tim Burton's Alice in Wonderland next year.

Progress means the tacky red-and-green glasses required to watch Jaws 3D in 1983 have been replaced with Aviator-style sunglasses. It will be up to investors to judge whether the future for HMV is bright enough to wear shades.

 

Carmike Cinemas `Goes Green` with Cutting-Edge, Environmentally Friendly and 100% Digital Movie Theatre | Reuters

http://today3d.blogspot.com/2009/10/carmike-cinemas-goes-green-with-cutting.html

Carmike Cinemas, Inc. (NASDAQ: CKEC), a leading digital cinema and 3D motion picture exhibitor, today announced the November 6th opening of its new, 100%
 digital movie theatre, featuring DLP digital projection and QSC prime digital sound, plus wall-to-wall screens, including three auditoriums equipped with 3D capabilities. The unique facility is also registered with the U.S. Green Building Council - to be certified as the nation`s first stand-alone LEED
 (Leadership in Energy and Environmental Design) theatre.
 
 The new entertainment complex, located at the corner of 3rd and Broad Street in Chattanooga, TN, is equipped with stadium-style rocking chair seats with
 retractable cup holder armrests, in 11 of its 12 auditoriums. The 12th auditorium is Carmike`s first-ever VIP screening room, where 21-and-older
 patrons will be offered a selection of premium beers, as well as choices from a gourmet menu or standard concessions fare. They will be cheerfully served by wait-staff, while enjoying first-run features and unique, alternative content, from the comfort of their stadium-style, luxurious leather reclining seats with push-button controls.
 
 Attention Editors: Majestic 12 Cinemas - sneak peek video http://www.vimeo.com/7170839 [password - carmike2009]
 
 "We are delighted that Carmike has taken the lead in LEED-certified cinema construction with the opening of their impressive new facility. Our sincere hope is that this will encourage other business owners and developers to focus on how they can also build progressive new structures that are increasingly `green` in nature," stated Jeff Pfitzer, Director of Special Projects for The RiverCity Company, a private, non-profit corporation focused on downtown development in Chattanooga, and developer of the theatre. 

 `Green` features of Carmike`s Majestic 12 Cinemas include:
 
 * Convenience to public transportation options
 * Local, recycled construction materials used throughout building process
 * Energy efficiency and performance
 * White membrane roof - reflecting solar energy
 * LED and fluorescent fixtures with programmable controls and sensors
 * Rainwater and condensation usage - in restrooms and landscape irrigation
 * Indoor air quality enhanced with environmentally friendly adhesives, sealants, cleaning and maintenance products
 
 Carmike President and CEO David Passman, stated, "Carmike is extremely excited about the opening of our new, environmentally friendly 12-plex - combining
 state-of-the-art, environmentally friendly building design with the most advanced digital and 3D exhibition technology. We realize environmental
 challenges and concerns facing our planet are becoming more critical with each passing day. For this reason, we especially look forward to bringing the
 first-ever `green` entertainment complex to the people of Chattanooga and the surrounding communities, and we know they will also love the first-run Hollywood entertainment, including 3D features and digital alternative content, such as live sporting events, opera and independents films."
 
 On Thursday, November 5th, Carmike`s Majestic 12 will host a VIP Fundraising Event at its theatre. Net proceeds from the gala evening will benefit six local, Chattanooga-based non-profit organizations:
 
 * Children`s Advocacy Center
 * Creative Discovery Museum
 * McKamey Animal Care and Adoption Center
 * Partnership for Families, Children and Adults
 * T.C. Thompson Children`s Hospital
 * Tennessee Aquarium
 
 About LEED
 
 For more information about LEED, contact: U.S. Green Building Council (USGBC) 1800 Massachusetts Ave. NW, Suite 300, Washington, DC 20036, Ph. 202-828-7422,email: leedinfo@usgbc.org, www.usgbc.org.
 
 About The RiverCity Company
 
 The RiverCity Company is a private, not-for-profit corporation whose mission is to ensure a vibrant downtown that is the economic, social and cultural
 centerpiece of the Chattanooga Region. RiverCity's Board of Directors is made up of the City and County Mayors, the C

 

Europe's Finest takes over film package from Celluloid Dreams for digital distribution

http://www.digitalcinemainfo.com/europes-finest-reelport_10_21_09.php

October 21, 2009

Source: Europe's Finest Reelport

The Cologne digital cinema distribution platform Europe's Finest is offering nine festival successes from the current slate of Celluloid Dreams in DCI-compliant format for direct booking for European digital cinemas. 

Among them are films such as BETTER THINGS, DEAD IN 3 DAYS, KILL DADDY GOODNIGHT, LET'S MAKE MONEY, WEDDING DIRECTOR, WHEN A MAN COMES HOME, and WHITE NIGHT WEDDING. 

All films were shown, among others, at the film festivals in Cannes and Berlin. The complete package and the available territories can be found at www.finest-film.com.

"Our goal is to give our quality cinema an audience as large as possible and generate revenues for our rights owners. Through Europe's Finest we want to make it possible for our films to be shown in countries where, until now, we could not find any local distributor," says Hengameh Panahi, President of Celluloid Dreams. 

"Together with The Auteurs and in collaboration with The Criterion Collection we have set up the first global online VOD platform and have built a community of cinema lovers. Digital cinematic distribution through Europe's Finest is a good example of our strategy for the new digital means of distribution." 

"We are delighted that, with Celluloid Dreams, we have managed to win over one of the most important players in the world sales field with our concept. As a service provider for world sales, archives, and other rights owners we want to give films a second chance in European cinemas – independent of rental cycles and with flexibly addable subtitles. Besides our selection of film classics, we are currently setting up a second category specially aimed at young arthouse audiences," explains Tilman Scheel, CEO of Europe's Finest. 

 

Feeling the heat: Latin America sees rapid growth of digital screens

http://www.filmjournal.com/filmjournal/content_display/esearch/e3i9f25616ad2abf49daf7e75d60bb75c9e#

 

Oct 16, 2009

-By Roque González

Latin America has approximately 6% of the 2K DLP digital screens in the world. Almost 500 of these screens are situated in 19 territories. Nevertheless, just one year ago this region had only 0.7% of the digital screens in the world, with 50 2K digital projectors installed in just seven countries.

Currently, Latin America has experienced the fastest growth in the number of digital screens worldwide; the number increased almost 900% in the last year alone. Since the mid-2000s to December 2007, the total of digital screens in the region stayed stable at around 20. By September 2008, the number had increased to 50. Then, in just half a year, the growth rate reached 250%, starting a boom that does not seem to have a visible end.

Today, Latin America has digitized around 5% of all its screens—an average comparable to that of the European Union (5.3%) and the rest of the world (5.9%). Mexico and Brazil are the locomotives of this train: Together they account for three-quarters of the digital screens in Latin America. (Mexico alone has 57% of the 2K projectors.) In addition, almost all the digital screens in Latin America exhibit films in stereoscopic 3D.

Like other regions in the world, Latin America is seeing a decrease in its participation in the global digital screen market, in comparison with its global participation in the 35mm projector market. There are currently around 9,000 digital screens globally, with the U.S. dominant (almost 63%) while other American participation in the 35mm screen market is just 27%.

In 2005, the USA had only 30% of the digital screens worldwide. Between 2005 and 2009, it increased its participation in the digital screens market more than 3000% (double the world average increase in this period). Latin America has had remarkable growth as well (more than 2700%), but in absolute numbers its percentage of the digital-cinema market has little global relevance (500 digital screens in comparison with 5,500 in the USA).

Trends in Latin America 
The digital screen market in Latin America is very concentrated. At this time, it is a copy of the 35mm exhibition market: fragmented and concentrated in very wealthy regions (states, provinces, cities, neighborhoods). 

It is important to highlight that the American company Cinemark is the only chain that has digital screens spread throughout Latin America (in 13 countries). The Mexican firm Cinépolis also has a remarkable presence, not only in its home country but also in Colombia and in Central America. Meanwhile, Hoyts has a significant presence in the digital screen market in the Southern Cone: Argentina, Chile, Brazil and Uruguay (with major activity in the two first countries). The initiative undertaken by national exhibitors throughout the region to install digital screens should also be noted.

The rollout in Latin America could be bigger. However, for the time being, the investment in digital conversion relies mainly on the exhibition companies' own resources. There are many obstacles to a stronger rollout—e.g., very high costs, huge import taxes, a lack of state support, minimal financial and credit access, and no VPF model, in addition to the minimal attractiveness of the small Latin American cinema market (except for Mexico, and maybe Brazil) for multinational corporations.

In Latin America, each digital screen (including projector, server, software, peripherals and 3D equipment) costs between US$200,000 and US$300,000. In this region, the costs are four or more times that of the United States and Europe. The theatres that are going digital base their decision on the high impact of 3D.

As for the 3D system chosen in each region, RealD and Dolby shares constitute almost 50% of the market each, with the exception of Mexico, where 80% of digital screens market have adopted RealD (and Dolby has no presence). XpanD has only a considerable activity in Mexico (20%) and a small presence in Brazil.

Dolby, with 100-plus 3D systems in Latin America, reports agreements for 36 new 3D systems in Argentina, Brazil, Chile, Ecuador, Mexico, Puerto Rico, Uruguay and Venezuela.
At this time, digital screens in Latin America have no alternative content (sports, music, opera, etc.). As is the case in Mexico, there are some initiatives in this field (above all, with respect to popular sports like soccer or American football), but the repercussions have yet to become significant.

Country Analysis 

Mexico: 
The oldest digital screen of Latin America was opened in July 2000 in Mexico City: the Cinemex Mundo "E" (still functioning).

Mexico has approximately 300 digital screens (almost 60% of all 2K projectors in Latin America).

Contrary to the rest of the region, Mexico's capital city has just a quarter of its digital screens. The rest are spread throughout the country: the states of Nuevo León (especially Monterrey), Puebla and Jalisco (above all, Guadalajara). Nevertheless, there is a great concentration related to the ownership of the digital screens: Cinépolis (a national chain, the fifth-largest in the world) has 69% of the market; together with Cinemark and national Cinemex, the three companies represents 91% of digital screens in Mexico.

Brazil: 
In 1998 Brazil saw its first professional exhibition in a theatre of Rio de Janeiro, produced by the American company UCI. In December 2001, this firm opened the first two digital screens in the country: one in Rio de Janeiro and the other in São Paulo.

As in Brazil's 35mm exhibition market, Brazilian digital screens are concentrated in the strongest markets in its south: São Paulo has 42% of this digital market; with Rio de Janeiro, the percentage grows to 55%. Adding the states of Rio Grande do Sul, Santa Catarina and Paraná, the rich south possesses three-quarters of the digital screens of Brazil. However, 16 of 27 territories in the country have 2K projectors (in the poorer states, their presence is minor).

In turn, more than a dozen companies share the digital screen market in Brazil (with 3D exhibition in almost 100% of these projectors). 57% are national firms, but Cinemark has made the biggest investment in this field: 32 digital screens (43% of the national total).
Last August, an important directive of BNDES (the Brazilian national development band) said that Christie and "a local partner" are looking for financial support to install a projector factory in Brazil, based on the VPF model.

Other countries: 
Argentina has had digital screens since September 2008. Only five of 24 territories have digital cinema. Approximately 22 digital 3D projectors are installed in Buenos Aires (the capital city), its suburbs, and in a few wealthier cities in the pampas (La Plata, Córdoba and Rosario). Just two screens are outside this region: Mendoza and Tucumán. This map is similar to that of the 35mm cinema market in Argentina. Cinemark, Hoyts and Showcase own 60% of the digital screens in the country.

Chile had its first digital screen in November 2007 in Santiago (the capital city). Nowadays, two-thirds of its 15 digital projectors are concentrated in this city. Hoyts is the company with most digital screens: eight. Cinemark has four and the national firm Movieland has three. All possess a 3D system.

In May 2007, Colombia saw its first digital screen in its capital: Bogotá (which has nine of its current 13 digital projectors). Cinemark and the national company CineColombia (the biggest in the country, part of powerful Caracol TV) have six screens each; the other is the property of the Mexican firm Cinépolis.

Peru has had digital cinema since mid 2008. Today, this country has 11 digital screens (all with 3D exhibition). The national firm UVK has five, as does CinePlanet (a Chilean company). Cinemark owns the other six. All these screens are in and around the capital, Lima.

Ecuador was one of the first Latin American countries with a 2K projector: The national firm SuperCines installed the first one in Quito in May 2005. Now there are 11 digital screens in the country: nine in Quito and Guayaquil (the wealthiest Ecuadorian cities). SuperCines has seven and Cinemark four.

In Uruguay, five of six digital 3D projectors (all installed between late 2008 and early 2009) are in its capital, Montevideo. The sixth is in an international tourism center, Punta del Este.

Venezuela, Bolivia, and Paraguay have a similar situation: very few 2K 3D projectors, installed very recently by a local exhibitor, all placed in their capital cities.

Central America and the Caribbean contain 20 sovereign states. Nine of these have 50 digital screens (with a remarkable presence by Cinemark and Cinépolis in this region). Aruba-Curaçao (with local firm E. de Veer Theaters dominant), Puerto Rico and Costa Rica have 73% of digital projectors installed in this tropical area.

E-cinema in Latin America 
Digital projection technology encompasses much more than just the expensive standards (DCI, Afnor or whatnot). In Latin America, there are literally thousands of formal and informal digital projection venues with e-cinema (from Panasonic HD projectors—like the 200 installed by the Brazilian firm Rain throughout Brazil over the past five years—to cabinets with DVD reproduction technology).

The many attempts at formulating public policy have had good intentions but bad planning, lacking coordination between sectors and serious research to support future decision-making.

Some of those attempts were related to e-cinema—e.g., Espacios Incaa in Argentina (a state network of screens, based on remodeled old theatres in cities with no current cinemas); pontos de difusion (diffusion centers) in Brazil spread throughout small villages; communal theatres in Venezuela, and thousands of communal centers in Cuba with TV sets functioning via solar energy. In mid-2009, Recam (Mercosur`s official cinema organization) signed an agreement with the European Union to install a few e-cinema screens in Paraguay, Argentina, Uruguay and Brazil in 2010.

In addition, there are many third-sector organizations, such as the "microcines" of Grupo Chasqui in Peru; film clubs; cinematecas; and cultural-educational centers of universities, unions or churches, among others institutions, as well as the popular informal exhibition phenomenon such as Bolivia's "cines-api" (fast-food places with rooms containing plasma TVs and DVD players to watch all kind of movies) that project films all over the vast territories of Latin America (above all, in places "invisible" to mainstream distribution and exhibition) as they have for decades, starting in the '80s, with the boom of VHS.

Roque González is a research analyst for Fundación Nuevo Cine Latinoamericano and a PhD candidate at Universidad Nacional de La Plata. He was regional research coordinator for Cine latinoamericano y nuevas tecnologías (Latin American Cinema and New Technologies), Fundación Nuevo Cine Latinoamericano, La Habana, 2009.

The Figures 
Digital screens (2K DLP platform projectors):
487 (almost 100% with 3D systems) in 18 countries
(rising 900% in the last year, much more than any region of the world)

Three-quarters of Latin American digital screens are in just two countries:
57% in Mexico 
16% in Brazil

Latin American digital screens are:
5.6% of the world digital-cinema market
5% of the Latin American 35mm cinema market (similar proportion of Europe and the world average). 

Brussels plans tax on film distributors

http://www.digitalcinemainfo.com/european-commission_10_20_09.php

 

Published: Monday 19 October 2009   

The European Commission is considering imposing a fee on movie distributors to help fund the shift to digital cinema, which is expected to increase the EU's share of the global film market but is deemed to be too expensive for small cinema operators.

Background:

The EU helps to fund the European film industry via its Media Mundus programme. The current Media 2007 phase provides EU filmmakers with €755m for the period 2007-2013, and has helped fund award-winning films like Slumdog Millionaire (UK), Gomorra (Italy) and La Vie en Rose (France). 

In summer 2008, the European Commission made clear it was exploring ways of increasing the share of European films in extra-EU markets to counter the dominance of Hollywood (EurActiv 11/06/08), primarily through the 'Media International' initiative approved by MEPs in December. 

In September, the Commission announced that the European cinema industry will get €5m this year to enhance filmmakers' cooperation with their counterparts in third countries (EurActiv 21/09/09).

A March study published by the EAO had found that American fiction still "overwhelmingly dominates" European television screens, but European productions are increasing their market share (EurActiv 26/03/09). 

In a document published on Friday (16 October), Brussels underlined that the ongoing conversion to digital equipment to produce, distribute and project movies carries the potential for enormous savings.

However it produces a problematic "paradox" since "[big] investment for digital equipment has to be borne by exhibitors, but the savings will be made by distributors," reads the document.

Indeed, the market for film distribution in Europe is very concentrated, with the top 10 companies (among which Metropolitan Filmexport or Entertainment Film Distributors) controlling over 80% of the market share in many EU countries.

In contrast, the exhibitors' market is highly fragmented. Just 10% of Europen cinemas are multiplexes and 31% are single-screen, according to figures provided by the Commission.

The numerous small single-screen cinemas are the most likely to show independent works, but are at risk of disappearing due to the cost of the migration to digital equipment. Only big multiplexes may survive after the shift to digital and the unavoidable concentration trend. 

To protect the cultural patrimony of small cinemas, the Commission is ready to authorise state aid funding, but it is also considering the development of a different business model in which distributors pay for the infrastructure investment of exhibitors.

Brussels is openly looking at the US model, called Virtual Print Fee (VPF), which envisages that part of the money that is saved by distributors in shipping digital content rather than traditional 35mm print is paid to a third party which invests it in financing the conversion to digital cinema.

"The question is why existing investors and European distributors have so far not been able to sign such agreements," reads the document, with which the Commission started a public consultation to listen to different opinions from relevant stakeholders on the matter.

The procedure is scheduled for closure in December. After that, the Commission will propose a way forward for the digital conversion from 2010. 

The EU executive believes that European cinema could develop better and could expand more into extra-EU markets if cinema costs are slashed.

Marcus Theatres to Feature Kodak Digital Cinema in Omaha

http://www.digitalcinemainfo.com/kodakdigitalcinema_10_16_09.php

October 16, 2009

Source: Kodak Digital Cinema

Kodak announced today that it has been selected to power the new Marcus Midtown Cinema at Midtown Crossing in Omaha, Nebraska, the most innovative and stylish complex in the legendary Marcus Theatres chain. 

Kodak Digital Cinema systems will be installed on all five screens of the four-level entertainment destination, scheduled to open on November 6. Systems will include several models of NEC projectors supplied by Ballantyne Strong who will handle projector installation.

"We've decided to step carefully into the world of digital feature systems," says Bruce J. Olson, president of Marcus Theatres. "We've been working with Kodak for some time and their depth of technology appeals to us. As our vision for the new Midtown complex began to take shape, we invited the best brands to participate and are pleased to welcome Kodak as an important partner in what will be a showcase for entertainment in the Omaha area."

"This is a relationship where we'll each do what we do best - and the moviegoers will benefit," says Drena Rogers, director of strategic accounts for Kodak Digital Cinema. "We took one look at Marcus's plans for Omaha and we knew we had to be involved. This is not just a gorgeous theatre, this is a rethinking of the future of cinema. We're excited to help them bring their vision to reality."

The new five-screen, four-level theatre will include two urban cocktail lounges, the latest theatre concessions, CineDine in-theatre dining, and a four-story glass façade with views of the Omaha city skyline. Marcus Theatres is the seventh largest theatre circuit in the United States and currently owns or manages 663 screens at 53 locations.

Powering the digital presentation in each auditorium will be the Kodak Screen Management Server which delivers the full program - pre-show, trailers and feature - through the cinema-grade NEC projector. Images will be big, bright, and consistent; the presentation will be seamless and can be fully automated, driven by the Kodak Theatre Management System (TMS).

Connected to the complex's ticketing system, the TMS loads and directs the show schedule, so shows start on time, automatically. Cinema managers can concentrate on serving their guests, while the Kodak system contributes to the overall experience.

"With Midtown Cinema's creative dining concepts and sleek environment, it's important to remember that the centerpiece of it all is the movie experience," adds Olson, "and that needs to be first rate. We're confident Kodak will do their part to deliver that in a way that is complementary and consistent with everything else our guests will experience."

The new complex will offer amenities that set a new benchmark for cinemas, including a two-story atrium with grand piano music, a 24-seat conference space with full catering services, a "features wall" with streaming trailers on LED flat-screen monitors, and an in-theatre call button system so guests can enjoy restaurant-style service in comfortable swivel chairs and tables while watching their favorite movie.

"Moviegoers who come to Marcus Theatres expect a great theatrical experience, but in the new Midtown complex, Bruce and his team will take that a giant leap forward," says Rogers. "This will be a magical place to socialize, dine and to see movies at their very best - because when great brands join together, magic happens."

In addition to providing network installation, Kodak is handling all training and support, including remote monitoring of components and on-site maintenance as required. "What Kodak is really offering," adds Rogers, "is peace of mind in a unique cinema environment."

Currently, Kodak Digital Cinema feature systems are installed in sites owned or managed by 42 exhibition chains in 17 countries, worldwide.

 

Barco and Cinedigm announce innovative new "Deliver Digital" program offering digital cinema solutions for every exhibitor

http://www.barco.com/digitalcinema/pressrelease/2416/

Sacramento, CA - 22 October 2009 - Barco, a global leader in digital cinema technology, is proud to announce "Deliver Digital" - a new program geared towards regional theater circuits looking to convert to digital. The Deliver Digital program allows independent chains to compete with national circuits, with access to the same benefits, such as preferred financing terms, VPFs, and the highest quality images in the industry.
"Barco already delivers the industry's best technology, and now we've created the fastest and simplest means for our exhibition partners to convert to digital," said Todd Hoddick, Vice President of Digital Cinema for Barco, NA. "With this remarkable program, we're delivering on a commitment to provide our customers the solutions they need - technology, financing and services. This, in turn, enables them to focus on providing their audiences with great viewing experiences."

Not only is the Deliver Digital program a turnkey solution, it's also simple, fast and confidential. Barco expedites a 21-day turnaround for qualifications, enabling prospective exhibitors to know rapidly if they qualify for funding and VPFs. To optimize our exhibition partners' conversion experience, Barco's program provides "quick strike" financing, a full Digital Cinema platform, and both installation and warranty services. To facilitate VPFs that will contribute towards the cost of digital systems, Barco has partnered with Cinedigm Digital Cinema Corp., a global leader in fulfilling the promise of Digital Cinema.

"Cinedigm is committed to helping theatre chains achieve their digital strategies," said Chuck Goldwater, President of Cinedigm's Media Services Group. "We are very pleased to expand our partnership with Barco, and we feel that their turnkey Deliver Digital program is a very important and effective step for our exhibitor partners. We look forward to bringing more circuits into the Cinedigm/Barco family."

Barco clearly understands that theatre owners have to make tough decisions in this new digital environment. Once they've elected to go digital, Barco can make those plans a reality:

. Through flexible financing, theatre owners can structure deals to deploy their entire digital cinema platform to fit their financial strategies. For qualified theatre chains, financing can be made available with zero percent down.

. Through our valued partnerships with Doremi, GDC and Dolby, we take the guesswork out of your key technology decisions.

Our focus on reliability and cost-of-ownership is clearly evident as exhibitors move beyond their initial installation. Barco's highly modular digital projectors are robust, and purpose-built for long-term reliability and low operating costs. In addition, Barco's superb installation and warranty services maximize screen time, and when combined with our Network Operating Center (NOC) to monitor system health, our commitment to you is "Red Carpet" customer care.

For theatre owners who want to convert today, Barco can deliver now - and getting started is easy. To join the "Deliver Digital" program, please contact Barco at 1-866-714-6004 for more information.

Czech film incentive approved by local government

http://www.screendaily.com/news/corporate/europe/czech-film-incentive-approved-by-local-government/5007163.article?referrer=RSS

21 October, 2009 | By Theodore Schwinke

The Czech government has approved a 20% tax rebate for productions shooting in the country.

Films seeking to access the scheme must have 75% of their budget secured from other sources and must pass a broad test for Czech and/or European culture, as required by the European Commission.

“We’re very excited and gratified that the government has demonstrated its support for the film industry in the Czech Republic,” Ludmila Claussova, a spokeswoman for the Czech Film Commission, told ScreenDaily. “It tells producers here and abroad that we are serious about earning their business.”

Productions looking to apply for the rebate must apply through their local partner, who will be charged with paying out expenses. Invoices for local goods and services must also be sent by a tax payer registered in the country.

The rebate, which does not require the approval of the Czech parliament or president, will be implemented in January if it gets the go-ahead from European Commission. The state government is expected to approve a budget for the scheme in early December, which will then be submitted for the president’s signature.

Matthew Stillman from Stillking Films, the Prague-based producer and service provider, said: “It’s taken us a long time to get the support of senior economists and the government, but now it’s a formal government measure. I’m very hopeful that it will be in place as of January 1 and will help put Prague back on the international production map.”

 

Imax, Pathe extend Netherlands deal

http://www.hollywoodreporter.com/hr/content_display/news/e3ied2621cfc5e7c4cc747f37569408bd99

Three new digital systems to be installed in Holland
By Etan Vlessing

Oct 20, 2009, 09:59 AM ET

TORONTO -- Imax Corp. and Pathe Netherlands are to expand their joint venture theatre agreement by installing three new digital systems in Holland.

The deal with Pathe Netherlands, which is aligned with the Paris-based EuroPalaces exhibition group, will see Imax upgrade an Amsterdam-based theatre and install digital projections systems in separate theatres in Rotterdam and Eindhoven.

Imax first went Dutch with Pathe Netherlands in 2005 with an MPX theatre in Amsterdam.

Toronto-based Imax is also to install a digital projection system at another Europalaces/Pathe theatre outside Paris, the Gaumont Disney Village venue.

Film glut may slow 3D rollout

http://www.hollywoodreporter.com/hr/content_display/world/news/e3i30e7feb16ddb020716917d980cbce4f5

Titles prove lucrative, but more d-cinema theaters needed

By Patrick Frater

Oct 10, 2009, 01:47 PM ET

BUSAN, South Korea -- The pace of digital cinema installation has accelerated this year, but 3D cinema may suffer an exhibition bottleneck as more movies are produced in the new format.

That was one of the messages delivered Saturday by Charlotte Jones, senior cinema analyst at Screen Digest, to a Pusan summit on the future of 3D cinema.

Jones said that 3D films have proved themselves a lucrative market. Already this year they have generated more than $1 billion at the global boxoffice and exhibitors are able to charge premium prices.

Where films are available in traditional 2D and new 3D format, the 3D versions earn on average 60% of the total gross. The difference is even more pronounced on opening weekends, when 3D versions earn an average of three times more than 2D prints and in the case of “My Bloody Valentine” it was six times.

“That 3x revenue share is now coming down towards 2.5x,” Jones said. “The reason is a lack of screens and the way the films are now being squeezed into shorter release windows. That will be exacerbated next year when the flow of movies in 3D rises from an estimated 23 in 2009 to more than 30. The (financial) advantage of 3D is being eroded (by the pace of d-cinema installation).”

Now Technicolor and other manufacturers are experimenting with ways of using film stock to project 3D images, which are currently only available using digital projectors.

Jones predicted that digital cinema building may currently be at a peak. Some 3,000 theaters were equipped with digital equipment in the first seven months of this year and the number that is 3D capable more than doubled in the first half of the year. Nearly half of all new digital screen installations are 3D capable.

“Content is driving the hardware adoption,” Jones said.

A number of uncertainties now threaten to hold back the 3D market. Many exhibitors have put on hold the (full or partial) conversion of their multiplexes from film to digital. And the emergence of high resolution 4K projection equipment has destabilized the market by adding another layer of uncertainty for exhibitors.

Korea currently ranks only seventh in the world by proportion of theaters with digital cinema installation. The Korean Film Council’s deputy director Lee Wang-ho said the total was 364 at the end of June.

KOFIC is now backing moves to increase the country’s ranking in the 3D universe, and the three largest private sector theater owners have set up a joint initiative to develop the business. “The biggest challenge is production,” Lee said. To date only one Korean movie, “Sole Mate,” is heading towards production any time soon.

But another Korean company Stereo Pictures suggested that the way forward could lie with 2D to 3D conversions as is happening with “Titanic.” “Some people think this is an experiment,” said Sung Young-seok, Stereo Pictures’ CEO. “It is not a research project. It is really in use now.”

 

Barco and Doremi Cinema to unveil integrated 2K/4K media block for digital cinema at ShowEast

http://www.barco.com/digitalcinema/pressrelease/2411/

 

Sacramento, California — 15 October 2009 — Digital cinema pioneer Barco and server technology leader Doremi are proud to announce another industry first — an integrated 2K/4K media block designed for Barco Series-II projectors. Barco and Doremi will showcase this industry leading technology on the show floor at ShowEast.

In June of this year, Barco, Cinemark and Doremi announced an exclusive agreement for the delivery and installation of over 3,000 projectors in more than 300 US theatres. This agreement was the first-ever to include Texas Instruments' Enhanced DLP Cinema® 4K technology and Doremi's integrated media block (IMB). Now, Barco and Doremi are extending this advanced technology to all exhibitors.

With the IMB installed in a Barco Series-II 4K-ready projector along with Doremi's external ShowVault™, Barco customers can now choose the most future-proof digital projection solution in the industry. If the customer elects to project in 2K, the integrated media block keeps content secure by moving the digital video decryption from outside of the projector — to inside the projector. When Texas Instruments' Enhanced DLP Cinema® 4K technology is made available, if the customer elects to project in 4K, the integrated media block can deliver 4K with a simple software upgrade.

“We are thrilled to continue our technical development and partnership with Barco, and to offer the digital cinema industry the first-ever 2K and 4K solution with an integrated media block” said Michael Archer, Vice President of Digital Cinema at Doremi. “In addition to providing the highest level of content security, our IMB product offers a future-proof configuration, based on the system's ability to support both 2K and 4K resolutions.”

The Barco/Doremi integrated 2K/4K media block provides a total of 4096 x 2160 pixels of resolution, and requires just one server rather than the four synchronized HD video servers needed until now. The solution offers exhibitors the opportunity to utilize a single server manufacturer across a digital cinema multiplex, with the ability to freely mix and match 2K and 4K technology while maintaining the same server hardware.

“Barco and Doremi have been leading innovation and setting digital cinema milestones for almost a decade,” said Todd Hoddick, Vice President of Digital Cinema for Barco, North America. “By combining our talents, we're taking a huge step forward in the evolution of digital cinema. Together, we are making digital cinema simpler, more secure, and more profitable for our customers.”

Barco and Doremi will demonstrate the integrated media block at ShowEast in Orlando, Florida, from October 26th through October 29th, booth #401.

DC Signs First Digital Cinema Deployment Agreements with European Independent Distributors

http://www.digitalcinemainfo.com/xdc_10_12_09.php

October 12, 2009

Source: XDC

XDC, a digital cinema service company in Europe, has signed non-exclusive long-term agreements with two (2) European distributors to contribute to the Virtual Print Fee (“VPF”) roll out started in Austria and Portugal.

Polyfilm Verleih ("Polyfilm") and Valentim de Carvalho Multimedia ("VCM") will support XDC, acting as a Deploying Entity, in order to roll out and fund digital systems for theatrical presentations, respectively, in Austria and Portugal.

Under the terms of the agreements, Polyfilm and VCM have independently agreed to supply Austrian and Portuguese exhibitors with their feature films in digital form for projection on the VPF digital screens, as well as contribute to the financing of XDC's VPF DCI-compliant digital cinema projection systems.

Serge Plasch, XDC’s CEO said: “This is a very important milestone for XDC. It’s the first time in Europe that a VPF Deploying Entity signs long term agreements with independent distributors. Many others are already contributing by supplying their films in digital format and by paying VPF’s, and they should also sign long term agreements very soon.”

Hans König, from Polyfilm commented: “We are satisfied that we got conditions which we were able to accept.”.

Luis Froes, from VCM said: "This is a very important step to VCM. Future is Digital and we want to be on the there since the beginning”.

"This result demonstrates that XDC’s VPF-based model works. Independent distributors can achieve quite important savings with respect to the 35mm print costs, even by paying the VPF. Moreover, VPF has only to be paid during a limited period of time and for a limited number of digital screens," concluded Judith Michel, Content Services Sales Manager for XDC.

 

Next Star Trek Movie Could be 3D

 

http://entertainment.pastapadre.com/2009/10/09/next-star-trek-movie-could-be-3d

 

by pastapadre

Posted October 9th, 2009 at 6:39 pm

One of the biggest movies of the summer was JJ Abrams reboot of Star Trek. Exceeding expectations it opened to over 70 million the first weekend and to date has hauled in nearly 260 million domestically. So discussion about the sequel was inevitable even in the very early stages with the release slated for summer 2011. We know the main players will return including the entire cast and Abrams (though uncertain if he will direct) while Alex Kurtzman and Damon Lindelof will once again write the script.

 

Said Abrams:
Paramount talked to me about doing the first one in 3-D and, having it only be my second film, I was petrified just at the addition of it. I thought it would be another dimension of pain-in-the-ass. I was just like, "I want to make a decent 2-D movie." I was so worried that instead of being a decent 2-D movie it would have been a bad 3-D one. I'm open to looking at it because now I feel a little bit more comfortable. And, if I, in fact, direct the "Star Trek" sequel, 3-D could be really fun, so I'm open to it. What I've seen of "Avatar" makes me want to do it because it's so crazy-cool looking.

I don't mind the idea to take more movies into the 3D realm. Avatar may actually be the one that ends up pushing its appeal to genres other than family and horror, in turn forcing theaters to adapt more digital projectors to accommodate the growth. Right now many theaters don't even have one because of the costs, but the success seen already and the ability to charge extra for tickets is making it tougher for them to hold out on the investment. The important thing is that the use of 3D comes across as organic and not as a gimmick. If the 3D enhances an experience that is great, however if the content is changing in order to create immediate reaction from the crowd that is where things could go wrong.

Wired Explains: How 3-D Television Works

http://www.wired.com/gadgetlab/2009/10/3d-tv-explainer/

By Priya Ganapati

October 6, 2009  |  6:05 pm  | 

“Larger than life” takes on a whole new meaning when you watch Beowulf swing from a dragon and hack branches that seem to just pop out of the TV.

TV manufacturers want to bring that experience to your living room with 3-D displays that work much like the ones in the theaters. Major consumer-electronics companies, including Panasonic, Mitsubishi and Sony, are betting on 3-D, with compatible TV sets planned for the market in 2010.

To understand why, here’s a short primer on how our vision works.  Our eyes are about 3 inches apart, which means each eye sees a slightly different perspective of the same scene. The brain takes images from both eyes, fuses them together and uses the difference between the images to calculate distance, creating a sense of depth.

Getting the 3-D effect at home involves tricking the brain into doing something similar with the images that it gets from a TV set. But that’s not a trivial problem: TV makers have to figure out a way to precisely show a set of slightly different images to each of your eyes.

So how do they do that? Here are the key technologies that are making their way into 3-D TVs.

Color Filter Glasses

Remember the old red-and-blue glasses at movie theaters that came to define 3-D in the 1950s? The tinting acts as color filters, so the image specific to that particular eye is seen by it. With both eyes seeing slightly different perspectives of the same image, a 3-D effect is created.

But the red and blue glasses can make you sick — literally. And the color filtering limits the colors that can be used to create content, so 3-D content using this technique is not very vivid. That’s why most movie theaters don’t use the tech any more, and neither do TV manufacturers.

Pros: Inexpensive, quick and easy way to watch and create 3-D movies or shows.

Cons: Since the image input to the eye is not controlled, it can cause headaches, nausea and just that icky feeling that kills the thrill of 3-D. It’s not worth the trouble, because the 3-D picture is not much to look at either.

Shutter Glasses

In this method, the left and right images are alternated rapidly on the HDTV. A single sequential imager switches very rapidly between the left and right images when projecting the information on a display.

For the eye to view the right set of images, viewers have to wear a pair of battery-powered glasses with shutters that can open and close rapidly. Each shutter is synchronized to transmit the wanted image and block out the unwanted one.

The two sides open and close in alternation while the screen displays left- and right-eye images in sync with the glasses. The shutter glasses are in sync with the screen’s refresh rate of 120 Hz. The result is that the left eye sees only the intended left view of the image, and the right eye sees the intended right view, and it happens so fast that your brain blends it together into a single, stereoscopic image.

The technique is called active-shutter technology. Active-shutter glasses contain liquid crystal, a receiver-transmitter combination that uses infrared, Bluetooth or radio technology. The HDTV sends a signal to the glasses to synchronize them to the images on the screen. Meanwhile, alternating electrical signals activate the LCD screen in the lens, blocking or transmitting the view.

The active-shutter glass idea has become popular among big TV makers such as Panasonic and Sony. Both  have committed to having at least one model of 3-D ready TVs in stores by the end of 2010.

Pros: Glasses are relatively inexpensive, no ghosting effect or delayed images that results when tinted glasses are used. Reduced viewer fatigue. Most likely to be available next year.

Cons: It’s like watching television with your sunglasses on. There can be up to a 50 percent loss of picture brightness. Add to that the timing lag and 3-D can get a bit rocky. In case of fast-moving sequences like a NASCAR race, the flicker can be noticeable.

Polarized Glasses

An alternative to active shutter glasses are polarized glasses that have lenses similar to those on sunglasses. The lenses have polarization that is adjusted to be orthogonal — set perpendicularly at 90-degree angles — to one another.

The 3-D material is projected by two projectors, which each have polarizing lenses in front of them. The surface on which the images are projected is coated with special chemicals so it does not affect the polarization.

Because each filter passes only the light that is similarly polarized and blocks the orthogonally polarized light, each eye sees only the image intended for it. The brain then puts these images together to create a three-dimensional effect.

Though the big boys of consumer electronics are not yet betting on this, the method offers the best viewing experience we have seen so far. Take the technology from HDI, a startup that can take two separate full-resolution imagers and integrate it as one projector.  For viewers, this means no reduction in image quality, and brightness that is almost as good as what you can get from a traditional LCD TV. Increasingly, movie theaters are offering polarized glasses for 3-D movies.

Meanwhile, LG has said it is working on having a 3-D ready TV next year based with polarized glasses.

Pros: Light weight; pictures with amazing level of detail and color.

Cons: The big TV makers have to still buy into the technology.

No Glasses

If putting on a pair of glasses all day to watch TV sounds annoying, there’s a way to do it without glasses called autostereoscopy. There are two ways to get this right: lenticular lenses or the parallax barrier.

Take LG’s 3D TV intriguingly codenamed M4200D. The idea uses cylindrical plastic lenses known as lenticules. The lenticules are placed on a transparent sheet which is fixed on the LCD screen.

The lenticules must be perfectly aligned with the image underneath. Each lenticule then acts as a magnifying glass to enlarge and display the portion of the image below it.

The viewer’s eye directly perpendicular to the screen sees the portion of the LCD that is directly under each lens. The other eye, observing the screen from a slightly different angle, sees a portion of the LCD that is off-center under each lens. The brain then combines the two views to create the perception of depth.

The idea comes with some real fine print. It requires an optimum viewing distance of 13 feet (or 4 meters), and there’s no messing around with that. Sit outside that zone and you are likely to see a set of muddled images.

The parallax barrier works on a similar principle.  It has a layer of material with some precise slits placed in front of a regular LCD screen. These allow each eye to see a different set of pixels creating the 3-D effect.

For instance, Sharp, which has shown 3-D TVs that don’t require glasses, has developed electrically switchable liquid crystals that are aligned with the columns of pixels in the display. When switched on, the parallax barrier controls the direction at which the light leaves the display and the way it hits your eyes. Even better, the parallax barrier can be switched off for 2-D content.

Both LG and Sharp TVs are still in the prototype stage. Sharp’s 3-D TV technology is unlikely to hit the production line anytime soon. Philips, which has also shown a concept 3-D TV in the past, has said it is not working on bringing the TVs to market.

Pros: No glasses required. It’s like watching TV the old fashioned way.

Cons: You need to sit in one of the “sweet spots” to get the image right. Also sitting in the lotus position may be preferred. Okay, we made the last part up — but this technology definitely requires you to sit in exactly the right spot. No lying down on the floor!

 

Prime Focus Launches View-D

http://www.2-pop.com/DigitalCinematography/article/87808

October 1, 2009 2D-to-3D conversion process lets filmmakers create stereoscopic 3D content with unprecedented quality and freedom for filmmakers.   Hollywood, CA -- Prime Focus has announced the launch of View-D, a proprietary 2D-to-3D conversion process that allows filmmakers to efficiently create stereoscopic 3D movies from source material shot on virtually any medium. View-D will be introduced at international launch events in Mumbai, London and Los Angeles to unveil the Prime Focus global rebrand, in which Post Logic and Frantic Films VFX will be brought together under the Prime Focus name. "3D moviemaking has proven to be more than a passing trend -- it's rejuvenating international box offices and giving filmmakers a new storytelling technique that enriches the movie-going experience," said Michael Fink, CEO, Prime Focus VFX. "Prime Focus is a visual effects facility, so we've been calculating 3D space from 2D images for years, and developed the technology behind View-D after having worked on several stereo 3D shows. With View-D, we're offering the industry an exciting new production method to convert both library titles and new releases to terrific stereoscopic quality in considerably less time than other methods." View-D was developed under the guidance of Chris Bond, President and Senior Visual Effects Supervisor of Prime Focus VFX. "We're very excited to be offering View-D to the industry," stated Bond. "With View-D, it's about giving filmmakers the gift of time, because our approach allows the possibility of interactive creative sessions with our stereographers, similar to a DI session. Filmmakers can also now shoot a movie with a single camera, on film, without having to be locked into digital cameras and potentially complicated stereoscopic camera rigs. View-D critically shortens the length of time of conversion, such that conversions can now be fit into the postproduction schedule." About Prime Focus Prime Focus is a global Visual Entertainment Services group that provides creative and technical services to the film, broadcast, commercials, gaming, internet and media industries. The group offers a genuine end-to-end solution from pre-production to final delivery - including previsualisation, equipment hire, visual effects, video and audio post-production, digital intermediate, digital asset management and distribution. Prime Focus employs more than 1200 people with state-of-the-art facilities throughout the key markets of North America, the UK and India. Using its 'worldsourcing' business model, Prime Focus provides a network that combines global cost advantages, resources and talent pool with strong relationships and a deep understanding of the local markets. Prime Focus is a public stock company with shares traded in the Mumbai and National Stock exchanges in India. Prime Focus also owns and operates Prime Focus London plc, which is publicly traded in the LSE's AIM market. For more information, please visit www.primefocusworld.com.

Next Star Trek Movie Could be 3D

http://entertainment.pastapadre.com/2009/10/09/next-star-trek-movie-could-be-3d

 

by pastapadre

Posted October 9th, 2009 at 6:39 pm

One of the biggest movies of the summer was JJ Abrams reboot of Star Trek. Exceeding expectations it opened to over 70 million the first weekend and to date has hauled in nearly 260 million domestically. So discussion about the sequel was inevitable even in the very early stages with the release slated for summer 2011. We know the main players will return including the entire cast and Abrams (though uncertain if he will direct) while Alex Kurtzman and Damon Lindelof will once again write the script.

 

Said Abrams:
Paramount talked to me about doing the first one in 3-D and, having it only be my second film, I was petrified just at the addition of it. I thought it would be another dimension of pain-in-the-ass. I was just like, "I want to make a decent 2-D movie." I was so worried that instead of being a decent 2-D movie it would have been a bad 3-D one. I'm open to looking at it because now I feel a little bit more comfortable. And, if I, in fact, direct the "Star Trek" sequel, 3-D could be really fun, so I'm open to it. What I've seen of "Avatar" makes me want to do it because it's so crazy-cool looking.

I don't mind the idea to take more movies into the 3D realm. Avatar may actually be the one that ends up pushing its appeal to genres other than family and horror, in turn forcing theaters to adapt more digital projectors to accommodate the growth. Right now many theaters don't even have one because of the costs, but the success seen already and the ability to charge extra for tickets is making it tougher for them to hold out on the investment. The important thing is that the use of 3D comes across as organic and not as a gimmick. If the 3D enhances an experience that is great, however if the content is changing in order to create immediate reaction from the crowd that is where things could go wrong.

Digital Projection’s TITAN 3D Projector Wins Best New Product Award at CEDIA 2009 Manufacturers’ Excellence Ceremony

http://www.pr-inside.com/digital-projection-s-titan-3d-projector-r1521421.htm

ATLANTA, GA – October 10, 2009

Digital Projection International (DPI), an Emmy® Award-winning manufacturer of high-performance projection systems, was recently recognized with a Best New Product award in the CEDIA 2009 Manufacturers' Excellence award ceremony. DPI's TITAN 1080p Dual 3D, the most efficient Active-3D enabled projector in its class, was the only projector to win an award at this year's banquet. Each year CEDIA recognizes the best of the best in the residential electronic systems industry. There were only 10 AV products recognized with this distinction.

Delivering 9,000 lumens and 2000:1 contrast, the TITAN 1080p Dual 3D presents a powerful yet incredibly efficient imaging solution for today's dynamic home cinemas, and tomorrow's 3D enabled home entertainment. The TITAN's CoolTek™ engineering delivers the highest lumen performance with the lowest power consumption, thermal (BTU) and noise level (dBA) output in comparison