Thomson's NexGuard Watermarking Integrated in Dolby Digital Cinema Servers

December 13, 2007 Source: Dolby

Thomson announced Dolby Laboratories Inc. offers the option of NexGuard, Thomson's content security solution suite, in its digital cinema servers. NexGuard watermarking is intended to prevent illegal recordings of digital cinema content, as required by the Digital Cinema Initiative's (DCI) V1.1 specifications. This partnership enables Dolby to embed NexGuard's video forensic watermarking solution in its digital cinema server, which can replay DCI compliant 2D and 3D digital cinema images. Thomson and Dolby have been working together since 2006.

"Thomson is at the forefront of digital content security innovation and provides piracy-dissuasion solutions for all release windows," said Jian Zhao, chief technology officer of Thomson's Software and Technology Solutions business, within the Technology division. "Dolby is a global leader in media ecosystems, and we are pleased to partner with them to offer studios a security solution for all digital cinema screens, including 3D theaters." NexGuard is the most broadly applicable forensic watermarking solution in the digital entertainment landscape. Its implementation for digital cinema exceeds DCI specifications by providing resistance to illegal camcorder capture and compression, as well as offering the flexibility to embed more than the required amount of identification information. "Dolby is dedicated to protecting the studios' intellectual property while providing a superior digital cinema experience to movie-goers," said John Iles, Vice President, Cinema, Dolby Laboratories. "By working closely with a leader in video technologies such as Thomson, Dolby is able to provide state of the art security across its digital cinema systems." Thomson's NexGuard has been solely designed to serve the media, entertainment and communication industries, and delivers the most wide-ranging line of products to track and secure digital audiovisual content throughout production, post-production, distribution and exhibition.

http://www.digitalcinemainfo.com/dolby_12_13_07.php

Barco and OSRAM offer one-stopshop for Digital Cinema lamps

December 2007

 

  Barco announced a coop-eration with Osram. Thr-ough the Osram worldwide lamp supplier distribution network, exhibitors now have access to a one-stop-shop for lamp supply for both analog as well as digital cinema projectors.

 

   Osram will provide a cost efficient and simpler purch-asing process for both analog and high brightness digital cinema lamps.

 

   Through the cooperation with Osram, customers ben-efit from reduced logistics costs, resulting in a lower lamp unit price. Over the  course of the projector’s life time this results in a significant reduction in operational costs to the exhibitors, making the transition from analog to digital cinema even easier.

 

   “The new cooperation offers digital cinema exhibitors worldwide greater flexibility and availability”, says Nico Vernieuwe, Vice President of Barco’s Events and Digital Cinema businesses.

 

   “Osram is the world market leader in cinema lamps, looking back to a history of more than 50  years of cinema projection – and having a dense network of service fi rms authorized for Osram´s high quality lamps. To provide customers with the latest technology, Osram is ready for the era of digital cinema. With the coope-ration with Barco Osram will offer the exhibitors one-stop-shopping, for an-alog as well as digital light-ing solutions for cinemas”, adds Hans-Joachim Schw-abe, heading the Displa-y/Optic division at Osram. The Osram brand name was registered way back in

 

http://www.cinema-systemsindia.com/December2006/news/page-11.html

 

Kodak introduces first comprehensive Theatre Management at CineAsia Beijing

December 2007

 

Kodak Digital Cinema introduced its Kodak The-atre Management System (TMS) to the exhibition co- mmunity of Asia, Austr-alasia and Japan at Cine-Asia from December 5-7.

 

   The first comprehen-sive digital system designed to manage all digital cine-ma content and bring new connectivity to the-atres in the future, the TMS enables standalone cinema components and systems to be networked in ways that provide new efficiencies for exhibitors and distributors.

 

   “So far we have seen most digital cinema systems installed on a stand-alone basis,” said David Sande-rson, General Manager, Ko-

 dak Digital Cinema, Great-er Asia and Japan Regions. “Each content player is separate. Lobby monitors are separate. The pre-show is handled separately from features. That approach misses the fact that digital is fundamentally ‘connec-tive’ technology. Digital systems want to talk to one another, to work together. For the first time, the K-odak TMS makes that po-ssible and offers an enha-nced audience experience.”

 

   Kodak is continuing to develop the integrated solution for its customers with input from a major industry partner. The company aims to deliver this next generation

 product to the marketplace during 2007 and will begin beta testing first versions of its new Kodak Theatre Management System in multiple sites in the United States over the next few weeks.

 

   “A major benefit of the Theatre Management Syst-em is that it’s software-updateable,” said Sanders-on. “Tomorrow’s software will work with today’s ser-ver. And that will continue to evolve from customer input and experiences.”

 

   The interoperable system is designed to connect to servers, players, and other systems from multiple sup-pliers including the latest Kodak JMN3000 Cine-

 Server.

 

   The Kodak JMN3000 Cine-Server ran in tandem with the Barco DP100 2K digital projector at the Barco trade booth at Cine Asia to demonstrate an integrated product solution for show attendees. The motion picture content on display is compressed using JPEG2000 compression, to create files that are fully compliant with the MXF packaging DCI has specifi ed. “Our customers want us to simplify complexity,” Sa-nderson says. “They want us to make it easy for them to understand this new  technology, and to provide and support an integrated solution they can trust.

 

http://www.cinema-systemsindia.com/December2006/news/page-6.html

 

 

REAL D NAMES ELIZABETH BROOKS CHIEF MARKETING OFFICER

Los Angeles-Dec 11, 2007

Branding Expert and Former Napster, Buy.com, GoTV Exec Joins 3D Leader

REAL D, the global leader in 3D, announced the appointment of Elizabeth Brooks as Chief Marketing Officer. Brooks will be charged with continuing the global expansion of REAL D’s market-leading 3D cinema brand, as the impact of next-generation 3D technology continues to change the face of entertainment. She will also spearhead the development of REAL D, which has been known as a business and technology innovator, as a consumer-facing entertainment brand. Brooks is a well-known marketer of leading-edge technologies who has worked with top investment entities to brand and launch start-ups, recently spearheading the rebrand of wireless social networking company WeFi, Inc. Brooks was most recently Executive Vice President, Marketing, at mobile video innovator GoTV Networks, the first television network launched on the mobile phone platform. She named and relaunched the company, which was named the Fortune Breakout Company of the Year in mobile technology. Prior to GoTV, Brooks was Senior Vice President, Business Development, at ecommerce leader Buy.com, where she architected the company’s digital entertainment initiatives. Brooks is a pioneer in the intersection of technology and entertainment, having previously served at Napster, Inc., as Vice President, Marketing, and a founding management team member. At Napster, she was awarded the WIRED Magazine award for Best Guerrilla Marketing. Brooks began her career in the music industry, first as a DJ and later as an A&R and marketing executive at PolyGram Records, Virgin Records America, and Sony Music. “REAL D 3D is an unprecedented technology, as it actually changes the way consumers see”, said Brooks. “I am excited to be part of this game-changing evolution of entertainment and to have the opportunity to continue to build a great brand for the global market leader in 3D.” “As we continue to build upon REAL D’s global reach, Liz’s proven track record of building entertainment and technology brands makes her the perfect candidate to lead our marketing efforts,” said Michael Lewis, Chairman/CEO and Co-Founder of REAL D. “With the depth and breadth of her experiences, Liz will be of tremendous value to our company’s growth.”

http://www.dcinematoday.com/dc/pr.aspx?newsID=972

European digital cinema close to breaking deadlock - report

Screen staff 10 Dec 2007 14:18

Digital cinema deals signed by studios and exhibitors with integrator Arts Alliance Media (AAM) is close to breaking the D-cinema deadlock in Europe, according to analyst Screen Digest.

While rollout has continued apace in the US, there has been an impasse in Europe with a few exceptions such as the UK's digital screen network. Disagreements over a fair business model for distributors and exhibitors have been the main stumbling block.

But AAM's virtual print fee-funded plan - which is now supported by four studios - has recently received the backing of a cinema chain. The agreement with 400-screen French exhibitor Circuit Georges Raymond is significant, says report author David Hancock.

"The insurmountable obstacle of exhibitor access to key content has been removed with four studios now backing a roll-out programme and the building blocks for a mainstream market deployment are in place."

There are other signs of progress, he suggests. In the UK, Odeon and Empire Cinemas have been working on 3D installation with Odeon declaring its intention to install 500 digital 3D screens.

Germany and Norway have shown signs of a strong commitment to digital change.

Screen Digest predicts that more than three-quarters of this market will be digitised by 2012.

"The key building blocks for the European market are moving into place and the CGR deal indicates that a viable model has been found,"said Hancock. "However, it would be naïve to suggest that the conversion to digital is proving easy, and the key issue that continues to tax people in Europe is how to pay for it for all levels of the market."

http://www.screendaily.com/ScreenDailyArticle.aspx?intStoryID=36230

Digital Cinema and The Old World

By Neal Romanek Dec 10, 2007, 21:45

The latest report from media analysts, Screen Digest, entitled 'Digital Cinema: Global and European roll-out, business models and forecasts to 2012', argues that Europe has reached a tipping point for digital cinema development and is ready for a wide-scale roll-out. As David Hancock, the report's lead author and Screen Digest's Head of Cinema argues "The insurmountable obstacle of exhibitor access to key content has been removed with four studios now backing a roll-out programme and the building blocks for a mainstream market deployment are in place." Digital cinema installation has reached an impasse in the past year in Europe outside the government-led growth in UK and some digital 3D installations, as exhibitors and distributors come to terms with the financial and business implications of digitising the screen base. There are signs that commercial progress is faster in the UK than elsewhere, and this is underlined by beta-tests carried out by Odeon and Empire Cinemas and Odeon's recently stated intention to install 500 digital 3D screens once their deployment is underway. We predict that over three-quarters of this market will be digitised by 2012. In France, which has been lagging behind, Circuit Georges Raymond (400 screens) is the first exhibitor to join Arts Alliance's VPF-funded European roll-out and this will serve to focus the industry on this issue and change the framework of the debate. In Germany, the government is aiming to build a consensus on deployment and is exploring business models for the conversion. Germany has the highest number of commercial digital screens in Europe (132). Norway has chosen to study and undertake a fully managed consensual digital transition, currently in the second phase of an industry-wide best-test and the whole market to be converted by 2010. As Hancock explains in the report, "The key building blocks for the European market are moving into place and the CGR deal indicates that a viable model has been found. However, it would be naïve to suggest that the conversion to digital is proving easy, and the key issue that continues to tax people in Europe is how to pay for it for all levels of the market. The US market has evolved along commercial lines and the second phase of the digital conversion is just about to begin, led by AccessIT. The situation in Europe has the added elements of market complexity, differing cinema cultures and governments, all of which are keen to ensure that no players are left behind in the switch. This implies that a number of business models will be made available to European exhibitors and distributors, with the element of competition offering a choice of viable alternatives." For distributors, the financial benefit is clear cut, in print cost savings of around $1.5bn a year and this explains the emphasis on distributor savings in the financial models being built to finance the digital conversion. While the value proposition for the exhibitor needs to become clearer, digital 3D, theatre management and alternative content are beginning to offer a valid economic incentive to convert. Going further, digital cinema offers independent exhibitors the chance to adapt their business model to offer a much wider range of content to a broader range of customers, and this could ultimately be exploited by exhibitors to fund digital conversion themselves. Globally there are 5,500 high-end digital cinemas at the end of 2007 (5.5 per cent of global modern screens), up from 2,996 last year, with 78 per cent of those in the USA. We forecast that 30 per cent of the world's modern screens will be digitised by 2010. For more information please contact: Screen Digest: Fay Hamilton, PR and Promotions Manager Tel: +44 (0) 20 7424 2847 fay.hamilton@screendigest.com Media enquiries: Lucy Green Tel: +44 (0) 7817 698366 lgreen@greenfieldscommunications.com About this research: The data in this press release is taken from Screen Digest's latest report, Digital Cinema: Global and European roll-out, business models and forecasts to 2012. This comprehensive 176-page report includes a full analysis of the global digital roll-out, including all Screen Digest's proprietary market data and forecasts for d-screens to 2012, business models and value chain, an analysis of the current situation and perspectives in Europe, the value proposition for distributors and exhibitors, including digital 3D and alternative content, and profiles of leading companies and countries.

http://www.uemedia.net/CPC/digitalcinemamag/articles/article_16689.shtml

European digital cinema foundations are being laid for mainstream market take-up in 2008

December 10, 2007 Source: Screen Digest Buy Report

The latest report from media analysts, Screen Digest, entitled "Digital Cinema: Global and European roll-out, business models and forecasts to 2012", argues that Europe has reached a tipping point for digital cinema development and is ready for a wide-scale roll-out. As David Hancock, the report’s lead author and Screen Digest’s Head of Cinema argues “The insurmountable obstacle of exhibitor access to key content has been removed with four studios now backing a roll-out programme and the building blocks for a mainstream market deployment are in place.”

Digital cinema installation has reached an impasse in the past year in Europe outside the government-led growth in UK and some digital 3D installations, as exhibitors and distributors come to terms with the financial and business implications of digitising the screen base. There are signs that commercial progress is faster in the UK than elsewhere, and this is underlined by beta-tests carried out by Odeon and Empire Cinemas and Odeon’s recently stated intention to install 500 digital 3D screens once their deployment is underway. We predict that over three-quarters of this market will be digitised by 2012.

In France, which has been lagging behind, Circuit Georges Raymond (400 screens) is the first exhibitor to join Arts Alliance’s VPF-funded European roll-out and this will serve to focus the industry on this issue and change the framework of the debate. In Germany, the government is aiming to build a consensus on deployment and is exploring business models for the conversion. Germany has the highest number of commercial digital screens in Europe (132). Norway has chosen to study and undertake a fully managed consensual digital transition, currently in the second phase of an industry-wide best-test and the whole market to be converted by 2010.

As Hancock explains in the report, “The key building blocks for the European market are moving into place and the CGR deal indicates that a viable model has been found. However, it would be naïve to suggest that the conversion to digital is proving easy, and the key issue that continues to tax people in Europe is how to pay for it for all levels of the market. The US market has evolved along commercial lines and the second phase of the digital conversion is just about to begin, led by AccessIT. The situation in Europe has the added elements of market complexity, differing cinema cultures and governments, all of which are keen to ensure that no players are left behind in the switch. This implies that a number of business models will be made available to European exhibitors and distributors, with the element of competition offering a choice of viable alternatives.”

For distributors, the financial benefit is clear cut, in print cost savings of around $1.5bn a year and this explains the emphasis on distributor savings in the financial models being built to finance the digital conversion. While the value proposition for the exhibitor needs to become clearer, digital 3D, theatre management and alternative content are beginning to offer a valid economic incentive to convert. Going further, digital cinema offers independent exhibitors the chance to adapt their business model to offer a much wider range of content to a broader range of customers, and this could ultimately be exploited by exhibitors to fund digital conversion themselves.

Globally there are 5,500 high-end digital cinemas at the end of 2007 (5.5 per cent of global modern screens), up from 2,996 last year, with 78 per cent of those in the USA. We forecast that 30 per cent of the world’s modern screens will be digitised by 2010.

http://www.digitalcinemainfo.com/screendigest-global-digital-cinema-report_12_10_07.php

European digital cinema foundations are being laid for mainstream market take-up in 2008 - Arts Alliance deal acts as a market catalyst

Source: Screen Digest

London 10th December 2007

The latest report from media analysts, Screen Digest (www.screendigest.com), entitled ‘Digital Cinema: Global and European roll-out, business models and forecasts to 2012’, argues that Europe has reached a tipping point for digital cinema development and is ready for a wide-scale roll-out. As David Hancock, the report’s lead author and Screen Digest’s Head of Cinema argues “The insurmountable obstacle of exhibitor access to key content has been removed with four studios now backing a roll-out programme and the building blocks for a mainstream market deployment are in place.”

Digital cinema installation has reached an impasse in the past year in Europe outside the government-led growth in UK and some digital 3D installations, as exhibitors and distributors come to terms with the financial and business implications of digitising the screen base. There are signs that commercial progress is faster in the UK than elsewhere, and this is underlined by beta-tests carried out by Odeon and Empire Cinemas and Odeon’s recently stated intention to install 500 digital 3D screens once their deployment is underway. We predict that over three-quarters of this market will be digitised by 2012.

In France, which has been laging behind, Circuit Georges Raymond (400 screens) is the first exhibitor to join Arts Alliance’s VPF-funded European roll-out and this will serve to focus the industry on this issue and change the framework of the debate. In Germany, the government is aiming to build a consensus on deployment and is exploring business models for the conversion. Germany has the highest number of commercial digital screens in Europe (132). Norway has chosen to study and undertake a fully managed consensual digital transition, currently in the second phase of an industry-wide best-test and the whole market to be converted by 2010.

As Hancock explains in the report, “The key building blocks for the European market are moving into place and the CGR deal indicates that a viable model has been found. However, it would be naïve to suggest that the conversion to digital is proving easy, and the key issue that continues to tax people in Europe is how to pay for it for all levels of the market. The US market has evolved along commercial lines and the second phase of the digital conversion is just about to begin, led by AccessIT. The situation in Europe has the added elements of market complexity, differing cinema cultures and governments, all of which are keen to ensure that no players are left behind in the switch. This implies that a number of business models will be made available to European exhibitors and distributors, with the element of competition offering a choice of viable alternatives.”

For distributors, the financial benefit is clear cut, in print cost savings of around $1.5bn a year and this explains the emphasis on distributor savings in the financial models being built to finance the digital conversion. While the value proposition for the exhibitor needs to become clearer, digital 3D, theatre management and alternative content are beginning to offer a valid economic incentive to convert. Going further, digital cinema offers independent exhibitors the chance to adapt their business model to offer a much wider range of content to a broader range of customers, and this could ultimately be exploited by exhibitors to fund digital conversion themselves. Globally there are 5,500 high-end digital cinemas at the end of 2007 (5.5 per cent of global modern screens), up from 2,996 last year, with 78 per cent of those in the USA. We forecast that 30 per cent of the world’s modern screens will be digitised by 2010.

Digital Cinema and The Old World

By Neal Romanek Dec 10, 2007, 21:45

The latest report from media analysts, Screen Digest, entitled 'Digital Cinema: Global and European roll-out, business models and forecasts to 2012', argues that Europe has reached a tipping point for digital cinema development and is ready for a wide-scale roll-out. As David Hancock, the report's lead author and Screen Digest's Head of Cinema argues "The insurmountable obstacle of exhibitor access to key content has been removed with four studios now backing a roll-out programme and the building blocks for a mainstream market deployment are in place." Digital cinema installation has reached an impasse in the past year in Europe outside the government-led growth in UK and some digital 3D installations, as exhibitors and distributors come to terms with the financial and business implications of digitising the screen base. There are signs that commercial progress is faster in the UK than elsewhere, and this is underlined by beta-tests carried out by Odeon and Empire Cinemas and Odeon's recently stated intention to install 500 digital 3D screens once their deployment is underway. We predict that over three-quarters of this market will be digitised by 2012. In France, which has been lagging behind, Circuit Georges Raymond (400 screens) is the first exhibitor to join Arts Alliance's VPF-funded European roll-out and this will serve to focus the industry on this issue and change the framework of the debate. In Germany, the government is aiming to build a consensus on deployment and is exploring business models for the conversion. Germany has the highest number of commercial digital screens in Europe (132). Norway has chosen to study and undertake a fully managed consensual digital transition, currently in the second phase of an industry-wide best-test and the whole market to be converted by 2010. As Hancock explains in the report, "The key building blocks for the European market are moving into place and the CGR deal indicates that a viable model has been found. However, it would be naïve to suggest that the conversion to digital is proving easy, and the key issue that continues to tax people in Europe is how to pay for it for all levels of the market. The US market has evolved along commercial lines and the second phase of the digital conversion is just about to begin, led by AccessIT. The situation in Europe has the added elements of market complexity, differing cinema cultures and governments, all of which are keen to ensure that no players are left behind in the switch. This implies that a number of business models will be made available to European exhibitors and distributors, with the element of competition offering a choice of viable alternatives." For distributors, the financial benefit is clear cut, in print cost savings of around $1.5bn a year and this explains the emphasis on distributor savings in the financial models being built to finance the digital conversion. While the value proposition for the exhibitor needs to become clearer, digital 3D, theatre management and alternative content are beginning to offer a valid economic incentive to convert. Going further, digital cinema offers independent exhibitors the chance to adapt their business model to offer a much wider range of content to a broader range of customers, and this could ultimately be exploited by exhibitors to fund digital conversion themselves. Globally there are 5,500 high-end digital cinemas at the end of 2007 (5.5 per cent of global modern screens), up from 2,996 last year, with 78 per cent of those in the USA. We forecast that 30 per cent of the world's modern screens will be digitised by 2010.

http://www.uemedia.net/CPC/digitalcinemamag/articles/article_16689.shtml

Eastern European countries compete for lucrative Hollywood movie productions

Eastern European countries compete for lucrative Hollywood movie productions

The Associated Press

Sunday, December 9, 2007

VILNIUS, Lithuania: Ducking beneath a shower of bullets, three unshaven men in filthy overcoats jump out of a concealed forest dugout, dragging a heavy machine gun and shouting commands to fellow rebels.

A brutal battle ensues between Nazi soldiers and resistance fighters under the leaden sky, and in the din — replete with explosions — the cattle in a neighboring village trample away in fright.

But it's all an illusion on the set of "Defiance," a World War II action flick recounting the story of a Jewish resistance movement in the Polish-Belarussian forests.

The US$50 million (€33 million) production, set for 2008 release, was a major victory for Lithuania, a country of 3.4 million people, which beat out bigger Poland and Romania as potential shooting sites. Eastern European movie sites are fighting for Hollywood cash with nearly as much ferocity as the fake battles in the movies.

As producers Ed Zwick and Pieter Jan Brugge explained, while searching for ideal sites, they looked for a setting that had thick forests and an urban landscape nearby.

"We actually explored the location on the 'Google Earth' to see how the forest was accessible to the city center," said Zwick, producer of blockbusters including "The Last Samurai" and "Blood Diamond."

The two found no adequate settings around the Polish capital, Warsaw, and Romania's forests are high in the mountains and too far away from Bucharest. So they chose Vilnius, Lithuania's capital.

For the post-communist economies of Eastern Europe, international movie production is a bonanza.

Foreign movie productions brought some US$76 million (€52 million) to the Czech Republic in 2006, according to Dusana Chrenekova, spokeswoman for Barrandov Studios.

Bogdan Moncea, marketing director of Castel Film in Romania, said foreign film studios over the past five years have injected over US$183 million (€124 million) into the economy. This year, Castel Film produced "Adam Resurrected," a Holocaust-related movie directed by Paul Schrader and starring Willem Dafoe and Jeff Goldblum, as well as "Mirrors," a thriller starring Kiefer Sutherland.

But times have changed. In the early 1990s, Eastern European cities could entice Hollywood producers with a simple combination of Old World charm and significant cost savings. Now they must dangle technology, experience and even tax reductions in order to lure the multimillion dollar productions.

In Hungary, the government has approved a huge tax break for movie productions, and the Romanians may follow suit.

The incentives are paying off. Next year, a slew of grade-A films shot in Eastern Europe — including "Transsiberian" with Woody Harrelson and Ben Kingsley — will be released.

Competition among premier Eastern European locations is stiff, and each studio does what it can to entice foreign productions — particularly now that the region has become considerably more expensive.

MediaPro, a Romanian studio that recently produced Joel Schumacher's horror flick "Town Creek," estimates that filming costs are 20 percent lower in Romania than in the Czech Republic.

But Chrenekova of Barrandov Studios, which last year opened what it claims is Europe's largest soundproof stage, measuring 44,800 square feet, cautions that you get what you pay for.

"As far as Romania and Bulgaria, which are the cheapest places for moviemaking, they don't have the proper infrastructure and lack the specialists we have," she said.

Ramunas Skikas, director of the Lithuanian film studios LKS, agrees that the final decision often boils down to funds.

"Most of us (Eastern European countries) offer similar scenery and quality of services, but the one thing that makes up filmmakers' minds is the production cost," Skikas said, adding that costs in Lithuania are 20 percent lower than in competing countries.

The Lithuanian countryside was used for the sweeping battle scenes in the TV-miniseries "War and Peace" based on Leo Tolstoy's legendary novel. The four-part series, produced by several European countries, was first shown in October in Belgium.

But as countries such as Hungary and the Czech Republic catch up with Western Europe in terms of prices, government support can mean the difference — which is why Hungary now offers filmmakers a 20 percent tax rebate.

Incentives like these show to what extent countries are willing to go to keep producers returning and why film-making is here to stay.

"In the digital age, production traveling is a given, and films will be made where they can best be served," said Iain Smith, producer of "Cold Mountain," a movie that was impugned by Hollywood filmmaker unions for being filmed entirely in Romania even though the subject matter was the U.S. Civil War.

"In this, Eastern Europe has taught the western nations a huge lesson," he added.

At one point the producers of "Defiance" had considered filming in Canada, but the cost factor canceled that option.

"The reality of the labor market is such that it was less expensive (to film in Lithuania) than going to Canada," Brugge said.

In "Defiance," a true story based on a book by Nechama Tec, four brothers escape from the clutches of the Nazis and begin rescuing other prisoners. Soon they establish an armed rebellion headquartered in underground forest dugouts.

"This story probably for the first time depicts the Jewish people not ... as passive beings who are marched into ghettos and deported into concentration camps," said Zwick.

The movie will allow viewers "to see the drama of someone who has been stripped of everything, is being hunted and becomes defiant," he said.

Both Zwick and Brugge said filming in Lithuania, which ended in October, had been an emotional experience, and that they would recommend the Baltic state to other producers.

"In Hollywood everything is more about the logistics — how to get the coolest plane or the coolest car for a film, whereas here often you have to make things and the physical skills (of) people are extraordinary in some cases," Brugge said. "Being here has restored my faith in film-making."

___

Associated Press writers Alison Mutler in Bucharest, Romania; Karel Janicek in Prague, Czech Republic and Gary Peach in Riga, Latvia, contributed to this report.

http://www.iht.com/articles/ap/2007/12/09/europe/EU-FEA-A-E-Lithuania-Hollywood-East.php

Imax day for 'Knight'

Six-minute preview bows Dec. 14

By Carolyn Giardina

Dec 7, 2007

"The Dark Knight"

UPDATED 7:41 p.m. PT Dec. 6, 2007 The bat signal will appear next week, eight stories high -- on Imax screens. The first six minutes of Warner Bros.' "The Dark Knight," a prologue that introduces Heath Ledger as the Joker, will appear as a preview in Imax theaters before the studio's "I Am Legend," which opens Dec. 14. "Dark Knight," the next film in the successful Batman franchise, was lensed in part using Imax cameras, a Hollywood first and a creative decision made by director Christopher Nolan, who also helmed 2005's "Batman Begins." The prologue is one of the scenes photographed in the 70mm Imax format. The rest of the film was lensed in 35mm and will be remastered to the Imax format for release in Imax theaters. In those theaters, the 70mm-lensed sequences will fill the screen and the 35mm-lensed scenes will appear letterboxed. (In traditional theaters, the aspect ratio will remain the same, though some expect that audiences might see a shift in image quality.)

"It's different, the experience you will get watching the film this way," Nolan said of Imax. "It will look great in 35mm as well, but (the Imax preview) might encourage people to go out of their way to see it this way. ... I wanted to make the sequel bigger, and using literally a bigger canvas for the story seemed a great way to put the characters together." In the six-minute sequence, a team of robbers -- all wearing clown masks -- enters a bank for a planned heist, but things take an unexpected turn. The imagery demonstrates the depth and clarity offered by the format, but perhaps no image is more chilling than the first look at Ledger's Joker. Nolan described the moment the close-up comes to the screen. "Seeing this extraordinary face, eight stories high ... you can smell his breath," he said. "He's a very overwhelming personality, and there's incredible texture to his appearance. It's a creepy moment, as it should be." Commenting on action shots, he said: "When you are racing and jumping ... those are the points when you realize how overpowering the imagery can be. That really takes me back to being a kid and watching films that seemed much larger than life." Nolan credited director of photography Wally Pfister and his team for their research to enable the cinematography. "We put an enormous amount of work into how to move these cameras," he said. "It's very heavy, it's very cumbersome ... but in the end we felt very free to use the camera." Nolan said the production even used the camera with a Steadicam. "We also managed to break a Steadicam," he added. Continued Nolan: "The lenses are very wide. It pushes you to a style of filmmaking that is a little more formal. You tend to move the camera in a much more specific way. You can move things through the frame because you have such a crystal-clear image and you are dealing with such a wide field of vision. "It's simply the best acquisition format there is," the helmer said. "I love film, and one of the reasons I was very keen to do what I am doing is this is a time when a lot of new technology is being thrown at us. ... Film is an incredible medium, and I think it would be a shame to give up on it and accept new technology without realizing the limitations." "Dark Knight" was lensed in Chicago and the U.K. Production recently wrapped, and post is under way. The film is slated to open July 18.

http://www.hollywoodreporter.com/hr/content_display/news/e3idf612c96b4705db46dad5b1ae5e81eae

IMAX gives AMC 100 digital 3D projectors for free

Imax and AMC really, really REALLY like each other in a digital-3D-biggest-deal-EVER kind of way. Yes, it is big. In fact, the news is so big that nobody at Imax has recovered from its impact sufficiently to post a press release on its corporate page yet. But there is plenty of coverage on the trades, regular press and blogs.

The Canadian large format (LF) film specialist is not exaggerating when it calls this deal the most important in the company’s history. This will see 100 new digital screens opening across 33 markets in the US over three years, thus doubling the number of Imax screens in the US. Varity has some of the details:

Pact between Imax and AMC Entertainment was announced late Thursday afternoon. Additional screens will be a major boost for the advancement of modern-day 3-D, since the digital Imax screens will be capable of exhibiting 3-D movies, in addition to 2-D titles.

New Imax digital projection systems will be installed in many of AMC’s top-performing theaters, including the Empire in New York City and 12 locations in the Los Angeles area, including Century City.

And:

Rollout of the first 50 screens will begin in July 2008. An additional 25 will be installed in 2009 and the remaining 25 in 2010.

But it is the more mainstream New York Times that has a better take on the financial specifics that underpin the deal:

In gearing up more theaters, Imax and AMC are chasing different goals. AMC, which is based in Kansas City, Mo., is trying to battle an industrywide slump in attendance while squeezing out more revenue from existing auditoriums. Because Imax tickets cost an extra $2 to $4, the conversion should increase revenue in the converted auditoriums by one third, according to Peter C. Brown, the chief executive of AMC.

For Imax, the joint venture carries extra weight. The company, with headquarters in New York and Toronto, has struggled to expand into mainstream movie theaters from its roots in science and history museums. Although it has persuaded some movie studios to release Imax versions of their regular films, Imax has recently suffered loses associated with regulatory inquiries into its accounting methods.

The Newspaper of Record also reveals that this is not a cheap or profitable deal for Imax:

Imax will shoulder the expense of the projectors, which cost about $500,000 each. AMC, one of the world’s largest movie theater chains, will pay to retrofit auditoriums in top-performing movie complexes in 33 cities, reconfiguring the seats and enlarging the screens.

Free projectors!! So AMC is effectively getting massively subsidized as Imax’s first digital 3D customer. What with AMC’s previous deal with Sony for 54 4K digital cinema projectors (free too?), it seems that one of the three NCM and DCIP partners believes in financial salvation through technology. The recent release of ‘Beowulf’ proved, if anything, that the greatest profits are to be made from Imax 3D, rather than the RealD’s digital 3D (read ‘Why Beowulf spells bad news for digital 3D business‘), despite the RealD screens vastly outnumbering the Imax 3D ones.

Will this deal be enough for Imax to find financial salvation? The Motley Fool isn’t convinced (’Why Can’t IMAX Fade to Black?‘):

If you think that the screens are big at IMAX (Nasdaq: IMAX), just wait until you see the deficits.

OK, so that’s not much of a selling point. Then again, when your third-quarter loss from continuing operations widens to $0.19 a share from $0.12 a share, you may as well dig into that popcorn tub as you take in the grandiose.

Like your sums in smaller steps? Feel free to bemoan the 4% drop in revenue to $29.8 million.

The website acknowledges that a steadier stream of Hollywood titles makes things sweeter - and this deal should be plenty of cake underneath the icing - but thinks that the best future for Imax would still be a buyout.

What nobody is questioning is whether Imax’s LF digital 3D technology actually works. I’m sure that AMC did not buy into this technology ’sight unseen’, but pulling off a demo is not the same as making the technology work four shows/365 days a year. Particularly if it is based on LCoS/SXRD rather than the more stable DLP technology. Particularly for digital 3D, which is more complicated than even many industry people realize.

Some bloggers just hate the whole idea behind this. ‘Hollywood Needs Gimmicks to Get You into Theaters - Is IMAX or 3-D the future of cinema? How about better movies instead?’ But ultimately the ticket buying public will decide whether this move will pay off. The indication from ‘Beowulf’ suggests that it might. Perhaps even in a big way. Just don’t expect Imax to keep giving away projectors for free to all exhibitors.

http://celluloidjunkie.com/?p=164

CHRISTIE SUPPLIES CANADA'S LARGEST DIGITAL CINEMA THEATRE COMPLEX

WATERLOO REGION, ON-Dec 7, 2007

Cineplex Entertainment Sets New Standard for Theatres Throughout North America

are installed and ready to usher in a new era of entertainment at Canada’s newest and largest Digital Cinema complex, SilverCity Oakville Cinemas, in Oakville, Ontario, Canada. The first of its kind, SilverCity Oakville Cinemas will open to the public on December 7th and will feature nine theatres equipped with Christie DLP Cinema projectors. Additionally, a Christie DW series 3-chip DLP widescreen projector will display digital pre-show entertainment in the new expansive lobby. Cineplex Entertainment (TSX:CGX.UN) selected the world’s most popular Digital Cinema projection system, the Christie CP2000 series, to outfit nine auditoriums, bringing an experience like no other to out-of-home entertainment. Two Christie CP2000-S and seven of Christie’s latest CP2000-ZX DLP Cinema projectors will deliver the most visually stunning, razor-sharp images that moviegoers have ever seen. “We believe SilverCity Oakville Cinemas will set a new standard for theatres throughout North America,” said Ellis Jacob, president and CEO, Cineplex Entertainment. “We’re especially proud to be working with Christie, recognized as the world’s Digital Cinema leader. Their technology not only provides resolution that is far greater than high-definition, it also gives us the flexibility to offer our guests a tremendous variety of choice in entertainment, including big screen events such as NHL hockey, Metropolitan Opera performances and this holiday season’s most talked about event, National Ballet of Canada’s The Nutcracker”. “This is a true entertainment complex like no other, that guests of all ages will enjoy,” commented Dave Muscat, director of sales, Christie Digital Systems Canada, Inc. “We’re extremely pleased to be working with Cineplex Entertainment on what is now the largest Digital Cinema equipped entertainment complex in Canada and the first of its kind in North America. It is also a fitting place for the Christie CP2000 and Christie DW3K – both of which are manufactured in Kitchener, Ontario at our world-class, ISO 9001:2000 manufacturing headquarters.” Christie’s famous CP2000 series projectors are installed in over 4,300 theatres worldwide and have launched major digital movie premieres including Lucasfilm’s “Star Wars: Episode III - Revenge of the Sith”, Disney/Pixar animated feature “Cars”, Walt Disney Pictures’/Jerry Bruckheimer Films’ “Pirates of the Caribbean” and most recently Paramount Pictures/Robert Zemeckis’ “Beowulf” in 3D Digital Cinema. The projectors have also supported international film festivals including the Cannes Film Festival and Toronto International Film Festival. Christie holds one of only three exclusive licenses of Texas Instruments’ DLP Cinema technology and is the most installed and preferred choice for Digital Cinema entertainment worldwide with 80% market share and backing from six major Hollywood Studios. The pioneering DLP Cinema technology in Christie’s projectors ensures perfect reproduction of movies, time and time again, as well as pristine, 2K-resolution picture quality that delivers extreme contrast and vibrant colors.

http://www.dcinematoday.com/dc/pr.aspx?newsID=968

Beowulf' success makes exhibs optimistic - 3-D gives B.O. another dimension

by PAMELA MCCLINTOCK, December 7, 2007

"Beowulf" B.O. tallies are getting a significant boost from 3-D engagements -- good news for

distrib Paramount, but other studios are also happy for the pic's success.

That's because Robert Zemeckis' motion-capture epic is the first modern-day 3-D pic that's not just for

kids, and rival studios are cautiously optimistic that this bodes well for their own 3-D plans in the next

few years.

"Beowulf" is the widest 3-D release to date, and studio execs are hoping its success will prompt exhibs

to install more 3-D screens. At its widest, the film played on roughly 740 3-D screens.

The pic is manna for exhibs as well. With so many other entertainment options, the exhibition business

hasn't been able to offer many enticements as a means to bump up ticket prices. 3-D gives them this

opportunity.

Over the Nov. 30-Dec. 2 weekend, "Beowulf's" 3-D playdates (on both digital 3-D and Imax)

outgrossed the pic's box office haul from traditional screens -- the first time that had happened in the

pic's three-week run. The new format accounted for only 22% of the film's screens, though those

showings brought in 51% of the box office.

"We're very happy with the performance," says Paramount prexy of worldwide marketing and

distribution Rob Moore. "It definitely is encouraging for the future of other 3-D endeavors. I think it says

that the moviegoing audience is interested in seeing films in 3-D, and not just family (films). This

shows that the mainstream audience is ready for a 3-D movie."

Once the film opened, Par tweaked its TV campaign to stress the 3-D factor.

Still, studios have to work to educate the public that this isn't like the older 3-D formats, when paper

glasses had one green lens and one red lens. Some viewers complained that 3-D made them

nauseous. Today's 3-D glasses are much more comfortable, with clear lenses.

"The old 3-D was a gimmick. The technology is so far advanced now, that it's not intrusive, and it's a

completely immersive experience. Instead of pushing out, it pulls you in, so that you almost feel like

you are in the room. That's the beauty of 3-D," says Fox co-chair Jim Gianopoulos, whose studio is

making James Cameron's 3-D live-action/CGI combo "Avatar."

The average ticket price for a film playing on a digital 3-D screen is $2.50 more than a regular ticket.

The charge for an Imax ticket can be $3 to $4 more than a regular ticket, and even higher in some

locales. At the Bridge in Los Angeles, an Imax ticket is $17.25.

The pricey "Beowulf's" domestic cume has been boosted significantly by 3-D grosses. Pic's total

domestic gross was $70.9 million through Dec. 5.

"Beowulf" was playing on 3,249 domestic screens as of Dec. 5. Of those, 84 are Imax runs, and 640

are digital 3-D screens supplied by Real D systems. Pic also is playing on a handful of 3-D screens

supplied by Dolby 3-D Digital.

"We feel like the 3-D screens are performing in such a way that the film will have a longer run than it

would have had otherwise," says Moore.

Imax chairman/prexy Greg Foster says he's wowed by the results of "Beowulf," pointing out that Imax

screens supplied 20% of the gross during the Nov. 30-Dec. 2 frame.

"I think it says that 3-D, and Imax in particular, is where people want to see big action movies. It gives

people a you-are-there, first-person experience," Foster says.

In a major deal, Imax announced Dec. 6 that it is partnering with AMC Theaters to install 100 digital

Imax systems at AMC locations in 33 top U.S. markets that support 3-D.

For Imax, "Beowulf's" perf has been extra-sweet, because it has drawn the young male demo Imax

has long courted.

"With 'Beowulf,' 3-D has been introduced to another crowd. The potential audience is now that much

larger," says Disney prexy of distribution Chuck Viane.

Viane and Disney have been at the forefront of releasing 3-D fare, such as annual holiday release Tim

Burton's "Nightmare Before Christmas in Disney 3-D," which has been a strong performer. Earlier this

year, the Mouse House released "Meet the Robinsons" in both 3-D and 2-D. Of the pic's total domestic

gross of $97.8 million, $30.4 million came from 3-D runs.

Normally, studios are fiercely competitive. But when it comes to 3-D, they're compatriots -- at least for

now. By singing the same song, they can present a united front to theater owners when convincing

exhibs to make the transition to digital and install 3-D screens.

What's good for one studio could pave the way for another, such as Fox. Cameron's tentpole "Avatar"

is set for release May 21, 2009.

Like "Beowulf," "Avatar" isn't a kiddie title. It's the first film Cameron has made since 1997's "Titanic";

he reportedly waited all this time because he wanted to make it in 3-D. That meant being patient and

allowing technology catch up.

"Clearly, 'Beowulf' shows the potential for 3-D as an enhancement to the theatrical experience. 3-D is

a tremendous tool in the hands of great filmmakers, which is why all the biggest filmmakers are

gravitating to it," Gianopoulos says.

On July 11, New Line will unspool action-adventure "Journey 3-D," a remake of Jules Verne's "Journey

to the Center of the Earth," toplining Brendan Fraser.

Two concert films shot in 3-D are ready to unspool in theaters; "U2 3D," which opens in January, and

"Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour," which Disney bows Feb 1.

The 3-D picture will heat up in a big way in 2009, with the release of DreamWorks Animation's

"Monsters vs. Aliens," which unspools March 26, and "Avatar" soon after,

DreamWorks Animation's Jeffrey Katzenberg has become a fervent proponent of 3-D, saying that all

DWA titles will be shot in digital 3-D, beginning with "Monsters."

With such pics in the wings, the race is on to pressure exhibs to convert more screens to digital, so

that they can be equipped with the technology needed to play 3-D fare.

"If 'Beowulf' wouldn't have worked, it would have been a real negative for the expansion of digital 3-D

screens," Moore says.

Real D CEO Michael Lewis agrees, saying that talks with exhibs about going 3-D have stepped up in

the wake of "Beowulf."

"Make it real, make it life-like and you can charge a premium in an industry that hasn't had any pricing

power in the last 30 years," Lewis says. "It is pretty significant."

http://www.reald-corporate.com/articles/v_120707.pdf

AMC to install 100 IMAX digital projection systems in 33 major US cities

AMC to install 100 IMAX digital projection systems in 33 major US cities

Denis Seguin in Toronto

07 Dec 2007 16:34

Giant-screen pioneer IMAX Corp. and US exhibitor AMC Entertainment have signed a joint-venture agreement to install 100 IMAX digital projection systems at AMC locations in 33 major US markets.

The agreement promises to double IMAX’s installed base by 2010. The US Nasdaq exchange responded to the news by boosting IMAX’s share price by nearly 35% before opening this morning.

The rollout of the first 50 systems will begin in July 2008, followed by 25 in 2009 and a further 25 in 2010. Most will be installed in AMC’s best-performing locations, including megaplexes in New York, Los Angeles, Washington DC, Dallas, San Francisco, Chicago and Philadelphia. In October, IMAX announced it was moving up the launch of its digital projection system to mid-2008; no doubt a signal of the impending deal.

In a statement, AMC chairman and CEO Peter C. Brown said the expanded relationship with IMAX was a key part of the circuit’s move into digital projection. IMAX co-chairs and co-CEO Rich Gelfond and Brad Wechsler said the deal was “a terrific endorsement” of IMAX’s digital technology.

Major studio releases slated for IMAX exhibition include: The Spiderwick Chronicles (February 2008), Shine A Light (April 2008), Kung Fu Panda (June 2008), The Dark Knight (July 2008), Deep Sea-quel 3D (working title, February 2009), Monsters vs. Aliens 3D (March 2009), How To Train Your Dragon 3D (November 2009), Hubble 3D (working title, February 2010) and Shrek Goes Fourth 3D (May 2010).

SONY PICTURES RELEASING INTERNATIONAL COMMITS TO ARTS ALLIANCE MEDIA'S EUROPEAN DIGITAL CINEMA ROLLOUT

Additional Digital Cinema Rollout Agreement Signed

 

LONDON, UK – 6 December, 2007 – In a further vote of confidence for digital cinema in Europe, Sony Pictures Releasing International (“Sony Pictures”) and Arts

Alliance Media (“AAM”), one of Europe’s leading providers of digital film distribution services, have reached a non-exclusive long-term agreement for digital cinema deployment. Under the agreement, Sony Pictures has committed to supply its films to certain European countries in digital format to AAM-deployed DCI-compliant digital cinema screens (if booked as a release screen), as well as to make financial contributions in order to promote digital cinema (a new and higher quality delivery format).

 

In June 2007, AAM signed Europe’s first long term digital cinema deployment agreements with Twentieth Century Fox and Universal Pictures International for the conversion of close to 7000 screens over the next few years, and most recently Paramount Pictures International also independently committed to support AAM’s digital rollout in Europe. Furthermore, in November 2007, the first European cinema chain, CGR Cinemas in France, signed up with AAM to convert 100% of its 400 screens to digital. AAM is in active negotiations for further deployment agreements with other Hollywood studios, as well as European distributors and exhibitors and announcements are expected shortly.

 

Commenting on the announcement, Mark Zucker, President of Distribution for Sony Pictures Releasing International, said, “Arts Alliance Media’s plan to roll out digital cinema in Europe has been embraced by the industry, and the winners are the moviegoers across Europe who will enjoy a state-of-the-art, higher quality theatrical experience. Through this conversion process, audiences will get to see motion pictures the way filmmakers intended, with beautiful, clear images and pitch perfect sound. Digital cinema is a true revolution in motion picture exhibition and we’re proud to be a part of it.”

 

Howard Kiedaisch, AAM’ s Chief Executive Officer said, “This is a significant show of support for a widespread digital cinema rollout across Europe, and we greatly appreciate all the hard work Sony Pictures has put into reaching this agreement”. Fiona Deans, AAM’s Director of Digital Cinema added, “We are thrilled to be working with Sony Pictures to deploy digital cinema across Europe and see this announcement as a further sign to exhibitors that distributors are fully committed to this rollout.”

 

AAM completed the UK Film Council digital cinema rollout of 240 screens on April 30th, 2007, known as the Digital Screen Network. The company is also participating in two  digital cinema trials in Europe, one in the UK at the Odeon Surrey Quays multiplex, since February 2007, and the other in Norway, in various cinemas across the country, since April 2006. To date, AAM’s in-house digital cinema lab has encoded over 200 digital cinema titles and shipped over 4000 digital prints.

 

Contact Info:

 

Columbia TriStar Motion Picture Group

Steve Elzer

Senior Vice President, Media Relations

+ 1 (310) 244-7142

steve_elzer@spe.sony.com

 

Arts Alliance Media

Gemma Richardson

+44 (0)7920 236299

gemma@artsalliancemedia.com

 

About Arts Alliance Media:

Arts Alliance Media, based in London and Paris, is Europe's leading provider of digital film

distribution services, dedicated to building a European digital network to deliver film to the

cinema, to the home and between industry players. AAM provides end-to-end digital cinema

solutions encompassing equipment selection, financing and integration, operator training,

installation and support, and content management and delivery. AAM was founded in 2003 by

Thomas C. Hoegh who serves as Chairman of the Board. Further information can be found at

www.artsalliancemedia.com

 

About Sony Pictures Entertainment:

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America (SCA), a

subsidiary of Tokyo-based Sony Corporation. SPE's global operations encompass motion

picture production and distribution; television production and distribution; digital content

creation and distribution; worldwide channel investments; home entertainment acquisition and

distribution, operation of studio facilities; development of new entertainment products,

services and technologies; and distribution of filmed entertainment in more than 100 countries.

Sony Pictures Entertainment can be found on the World Wide Web at

http://www.sonypictures.com.

Pass The Popcorn! Study Finds That Film Enjoyment Is Contagious

ScienceDaily (Dec. 7, 2007) — Loud commentary and cell phone fumbling may be distracting, but new research suggests that the presence of other people may enhance our movie-watching experiences. Over the course of the film, movie-watchers influence one another and gradually synchronize their emotional responses. This mutual mimicry also affects each participant's evaluation of the overall experience -- the more in sync we are with the people around us, the more we like the movie.

"When asked how much they had liked the film, participants reported higher ratings the more their assessments lined up with the other person," explain Suresh Ramanathan and Ann L. McGill (both of the University of Chicago). "By mimicking expressions, people catch each other's moods leading to a shared emotional experience. That feels good to people and they attribute that good feeling to the quality of the movie."

In a series of experiments, the researchers had participants watch a video clip. Some of the participants watched alone, some with other people whose expressions could not be seen due to the presence of a partition, and some with other people whose expressions could be seen. The participants had a joystick they used to indicate their feelings at each moment.

While assessments did not line up by second--people liked or disliked specific scenes in the film according to their own tastes-- the researchers found that people watching a film together appeared to evaluate the film within the same broad mood, generally tracking up or generally tracking down. In another study, the researchers videotaped participants and found that synchrony of evaluations can be traced to glances at the other person during the film and adoption of the observed expressions.

The researchers explain: "Participants who looked at each other at the same time appeared to note whether the other person's face expressed the same or different emotion than their own. Perceived congruity of expressions caused participants to stick with their current emotional expression . . . Perceived incongruity, on the other hand, led to a dampening of subsequent expressions."

They continue: "Social effects described above were bi-directional suggesting that such influences were mutual rather than the result of a leader-follower pattern."

The researchers are the first to examine how a shared experience affects not just our immediate feelings, but also our overall impressions of the experience as a whole. The study is also the first to look at contagious emotions in a naturally developing relationship between two participants, differing from prior studies that used a planted person to express agreement or disagreement with the participant.

Journal reference: Suresh Ramanathan and Ann L. McGill, "Consuming with Others: Social Influences on Moment-to-Moment and Retrospective Evaluations of an Experience." Journal of Consumer Research: December 2007.

Adapted from materials provided by University of Chicago Press Journals.

http://www.sciencedaily.com/releases/2007/12/071204133730.htm

AAM adds Sony as digital cinema partner in Europe

Wendy Mitchell in London 06 Dec 2007 11:15 Arts Alliance Media has recruited another studio for its digital cinema plans: Sony Pictures Releasing International has signed a non-exclusive long-term agreement with the company for digital cinema deployment. This follows on June 2007 AAM pacts with Fox and Universal and an October 2007 deal with Paramount. Sony will supply its films in digital format to AAM-deployed, DCI-compliant digital screens and will also make financial contributions to promote digital cinema, in other words signing on for AAM 's "Virtual Print Fee" plans. The VPF model is a means to finance digital cinema conversion with both distributors and exhibitors funding costs over time, funded up front by AAM. AAM plans to convert nearly 7,000 screens in Europe over the next few years. AAM last month signed a deal to convert all 400 screens of France's CGR Cinemas to digital. Mark Zucker, president of distribution for Sony Pictures Releasing International, said, "Arts Alliance Media's plan to roll out digital cinema in Europe has been embraced by the industry, and the winners are the moviegoers across Europe who will enjoy a state-of-the-art, higher quality theatrical experience. Through this conversion process, audiences will get to see motion pictures the way filmmakers intended, with beautiful, clear images and pitch perfect sound. Digital cinema is a true revolution in motion picture exhibition and we're proud to be a part of it." Howard Kiedaisch, AAM' s CEO added, "This is a significant show of support for a widespread digital cinema rollout across Europe, and we greatly appreciate all the hard work Sony Pictures has put into reaching this agreement". http://www.screendaily.com/ScreenDailyArticle.aspx?intStoryID=36174

SONY PICTURES RELEASING INTERNATIONAL COMMITS TO ARTS ALLIANCE MEDIA'S EUROPEAN DIGITAL CINEMA ROLLOUT

SONY PICTURES RELEASING INTERNATIONAL COMMITS TO ARTS ALLIANCE MEDIA’S EUROPEAN DIGITAL CINEMA ROLLOUT

December 6, 2007 Source: Arts Alliance Media

In a further vote of confidence for digital cinema in Europe, Sony Pictures Releasing International (“Sony Pictures”) and Arts Alliance Media (“AAM”), one of Europe’s leading providers of digital film distribution services, have reached a non-exclusive long-term agreement for digital cinema deployment. Under the agreement, Sony Pictures has committed to supply its films to certain European countries in digital format to AAM-deployed DCI-compliant digital cinema screens (if booked as a release screen), as well as to make financial contributions in order to promote digital cinema (a new and higher quality delivery format).

In June 2007, AAM signed Europe’s first long term digital cinema deployment agreements with Twentieth Century Fox and Universal Pictures International for the conversion of close to 7000 screens over the next few years, and most recently Paramount Pictures International also independently committed to support AAM’s digital rollout in Europe. Furthermore, in November 2007, the first European cinema chain, CGR Cinemas in France, signed up with AAM to convert 100% of its 400 screens to digital. AAM is in active negotiations for further deployment agreements with other Hollywood studios, as well as European distributors and exhibitors and announcements are expected shortly.

Commenting on the announcement, Mark Zucker, President of Distribution for Sony Pictures Releasing International, said, “Arts Alliance Media’s plan to roll out digital cinema in Europe has been embraced by the industry, and the winners are the moviegoers across Europe who will enjoy a state-of-the-art, higher quality theatrical experience. Through this conversion process, audiences will get to see motion pictures the way filmmakers intended, with beautiful, clear images and pitch perfect sound. Digital cinema is a true revolution in motion picture exhibition and we’re proud to be a part of it.”

Howard Kiedaisch, AAM’ s Chief Executive Officer said, “This is a significant show of support for a widespread digital cinema rollout across Europe, and we greatly appreciate all the hard work Sony Pictures has put into reaching this agreement”.

Fiona Deans, AAM’s Director of Digital Cinema added, “We are thrilled to be working with Sony Pictures to deploy digital cinema across Europe and see this announcement as a further sign to exhibitors that distributors are fully committed to this rollout.”

AAM completed the UK Film Council digital cinema rollout of 240 screens on April 30th, 2007, known as the Digital Screen Network. The company is also participating in two digital cinema trials in Europe, one in the UK at the Odeon Surrey Quays multiplex, since February 2007, and the other in Norway, in various cinemas across the country, since April 2006. To date, AAM’s in-house digital cinema lab has encoded over 200 digital cinema titles and shipped over 4000 digital prints.

http://www.digitalcinemainfo.com/artsalliancemedia_12_06_07.php

Growth in Asia Varies Country by Country - Digital Revolution

by Bill Mead

Digital cinema in the Asia-Pacific region continues to expand on a country-by-country basis, with an interesting mix of distribution infrastructures ranging from locally created e-cinema networks up to full DCI-specified 2K networks. Unlike the U.S.—or even the European markets—progress in Asia varies by country depending much on the status of the domestic cinema industry and the local popularity of Hollywood content.

Missing so far in Asia are the pan-regional third-party providers who provide financing, integration, and distributor-provided conversion incentives. Companies like North America’s AccessIT and Technicolor and Europe’s XDC and Arts Alliance Media have yet to emerge in the Asian market. The driving factors in the Asian rollout tend to be local exhibitors themselves who want to get ahead of the curve, the equipment vendors who are trying to jump-start business, and in the case of China, government incentives.

In China, digital-cinema deployment is being supported by the China Film Group Corporation (CFGC), the Chinese state-owned company which is leading the Chinese film industry. CFGC got off to a roaring start in 2002 with initial purchases of pre-DCI MPEG-based equipment with 1.3K projection technology. China deployed 100 of these systems in major market cinemas that typically play Western content. As Hollywood standards began to evolve, CFGC took a wait-and-see attitude to further investments and remained largely quiet on further large-scale d-cinema deployment. Instead, CFGC moved forward by deploying a large number of e-cinema systems using standard three-chip DLP projectors and GDC servers in theatres that play domestic content, while keeping a close eye on evolving d-cinema standards.

In 2007 China renewed its commitment to install 2K DCI-compliant systems in large numbers. Both Belgium-based projector manufacturer Barco and the Singapore-based server manufacturer GDC Technology (GDC) have been the driving forces in the recent China rollout. In spring of 2007, GDC and Barco jointly announced a deal with Chinese exhibitors for 700 units coordinated through CFGC. Following on this announcement, GDC announced that CFGC, working with Shenzhen-based Institute of Digital Media Technology (Shenzhen IDMT), will install 2,000 of its DCI-2000 integrated systems in Chinese theatres by the end of 2008. The GDC DCI-2000 combines a GDC SA-2100 server and a Barco DP-2000 projector into one easy-to-deploy package. As of December 2007, approximately 300 of these systems have been installed in China.

GDC has also been busy installing its Total Digital Cinema Solution in various Chinese cinemas such as the Golden Harvest Shenzhen. This package includes equipment for d-cinema, onscreen advertising and in-lobby advertising, along with a central management system to control these systems.

Korea is leading the world in installation as a percentage of existing screens, with approximately 185 of its 1,700 screens equipped. Unlike China, the cinemas in South Korea didn’t begin seriously converting until DCI and 2K projection became the norm. Both Barco and Christie have established strong positions with dealer and exhibitor alliances. Initially QuVIS had the dominant server position, followed closely by GDC. Recently, Doremi has focused its sales and support in the Korean market and to date has installed approximately 50 servers. Christie has recently taken the lead in projector sales with approximately 100 installations to date.

The rollout in Korea is largely being driven by competition among the major exhibition groups. Exhibitors CJ Entertainment, The Lotte Group and Megabox, along with numerous independents, are all in competition to provide tech-savvy Korean cinemagoers the best possible experience. The Megabox COEX Cineplex in Seoul was the world’s first all-digital multiplex, with all 16 screens equipped with Barco projectors in the summer of 2005. Digital 3D has also been a huge hit with Korean moviegoers, with 11 of the Lotte screens being equipped with Real D’s stereoscopic system.

NEC, also a manufacturer of DLP Cinema 2K projectors, has recently renewed its focus on the Korean market with the appointment of Hyosung ITX Co. Ltd. as a sales partner. NEC also has a sales relationship in the Hong Kong market with Strong Westrex, a subsidiary of Ballantyne of Omaha and a leading supplier of cinema equipment for the region. NEC is actively expanding its sales and support throughout Asia in anticipation of strong demand for 2008.

The digital rollout in Taiwan is moving slowly ahead, with approximately 10 digital screens in operation. Sales are being driven by individual titles, particularly those in digital 3D. For the November 2007 release of Beowulf 3D, Ambassador Theatres will install one Dolby 3D system at their Xinmen Ding site and add one more Dolby server at its Global Mall site. Over the next year, Ambassador is planning to install three more digital screens. Also for Beowulf 3D, GDC Technology will be installing two of its SA-2100 servers along with Christie projectors in Cinemark’s Core Pacific multiplex.

Much like Taiwan, Thailand has nine d-cinema screens in operation and is adding as needed to play specific titles. Thailand’s leading integrator, Goldenduck Group, has been responsible for overseeing recent installations with SF Cinema, who recently added two additional installations using Barco projectors and Dolby servers with 3D enhancements.

In Japan, T-Joy continues to lead the conversion with approximately 30 of Japan’s 70 equipped screens. Earlier this year, T-Joy installed nine NEC NC2500S projectors at its flagship Shinjuku Wald 9, making it the first fully digital complex in Japan, and later T-Joy installed three more NEC projectors at their Nagaoka multiplex.

Dolby has been particularly active in the Japanese market with the installation of 19 of its servers and is working with T-Joy to install Dolby 3D Digital Cinema systems in a number of their multiplexes across Japan. In addition, Imagica, one of the largest motion picture film laboratories in Japan, has been equipped to generate DCI-specified files and has installed the Dolby SCC2000 mastering system.

Sony is said to have seven Japanese theatres equipped with its 4K SXRD projection technology on a trial basis. Doremi has also established a footprint in the Japanese market with 10 recent server installations in several Shochiku and Tokyu cinemas.

India has been a solid e-cinema market, with many flavors of MPEG-2 and MPEG-4 based systems being deployed around the country. In the north, the UFO Moviez network has installed over 500 e-cinema systems in cinemas playing Indian-produced titles. In the south, Chennai-based Qube System has been actively deploying e-cinema networks for several large Indian exhibitors including E-City, Pyramid Group, Cinemeta, and others. Although starting with e-cinema, Qube is expecting to upgrade many of these to fully compliant DCI systems in 2008. Recently, Sathyam Cinemas installed six Qube XP-D servers with Barco DP-100 projectors in all six of its screens at its flagship multiplex in Chennai and is planning to expand to over 100 screens throughout southern India, all with DCI-level 2K equipment and Qube servers in 2008. Working with Qube, 200 of the top independent Indian exhibitors plan on upgrading their existing e-cinema equipment to d-cinema beginning in early 2008.

With the size and potential of the Indian market, it is no surprise that many other equipment venders are looking at India with eager anticipation. Dolby Laboratories has an agreement in place with a major Indian service provider to install a Dolby SCC2000 Secure Content Creator for local content creation and mastering. In addition, the agreement includes over 250 Dolby Digital Cinema servers to be installed over the next few years to provide a DCI-compliant screen base for Hollywood movies in India.

In Australia and New Zealand, d-cinema literally means 3D, as all of the 21 digital screens in the region are 3D-enabled, most equipped with Barco projectors and Kodak servers.

Kodak Australia is Real D’s exclusive agent for Australia and New Zealand and has been responsible for the large majority of digital systems deployed in the area. Building on their success with the ACOS pre-show delivery system, Kodak has been deploying their JMN3000 server with the Kodak Theatre Management System (TMS). This TMS provides exhibitors with centralized control over the systems while also being watched over by the Kodak service and support team from Kodak’s central network operations locations.

So far, digital conversions down under have been driven by specific titles. Hoyts and Reading Cinemas have added several new installations for the November 2007 release of Beowulf 3D.

Several larger screens, the Cineplex Victoria Point in Queensland and Hoyts’ Sylvia Park in New Zealand, are set up with dual-projector 3D to achieve higher brightness on the wider screens. Australia’s Atlab Image & Sound Technology has been doing much of the system integration working with Kodak, Dolby, Christie and other vendors.

In 2007, both China and South Korea made significant progress with the conversion of their exhibition industries to digital. In China, the growth can be attributed to strong governmental support for programs to modernize their cinema industry. In South Korea, the progress was primarily the result of fierce competition among several vertically integrated—and therefore well-financed—cinema circuits.

In the smaller markets and with the independent exhibitors, however, the economics of the digital deployments remain a challenge. With no clear emerging regional deployment plan providing studio incentives to convert, installations are on a screen-by-screen basis and being driven primarily by a few titles available in 3D.

Regardless of studio incentives and deployment plans, d-cinema installations will certainly heat up in 2008, as there are many more 3D titles in the production pipeline. Whether 3D exhibition is a novelty—or becomes part of mainstream cinema for the foreseeable future—the increased box-office results make the exhibitor’s conversion a more local, immediate and understandable business decision.

 

http://www.filmjournal.com/filmjournal/search/article_display.jsp?vnu_content_id=1003679846