'Button' undone by digital dilemma-Screening of Oscar hopeful goes awry

http://www.variety.com/index.asp?layout=print_story&articleid=VR1117996367&categoryid=1983

 

By DAVID S. COHEN, ANNE THOMPSON

"Welcome to digital," wrote producer Frank Marshall in a morning-after email following Thursday night's aborted unveiling of "The Curious Case of Benjamin Button."

Paramount had sweated every detail Thursday as the studio prepared to screen its long-anticipated Oscar hopeful to a hand-picked audience of press and prominent bizzers at the DGA Theater. Marshall and partner Kathy Kennedy were on hand to introduce the $150 million-plus pic, which they had been nurturing for 18 years.

Par execs were so eager to get the movie in front of guild and Academy members and key press that they weren't willing to wait another week for release prints. In any case, finicky director David Fincher preferred to showcase his technologically ambitious digital movie -- which deploys complex visual effects to make Brad Pitt age backward -- with a digital projector. The two trial runs during the day had gone smoothly.

But "Benjamin Button" became the latest Oscar-season victim of digital gremlins.

The picture had a peculiar green tint, and in the audience, d.p. Claudio Miranda got a sinking feeling. "Initially I thought there was something wrong with my eyes for a second. I was rubbing them," he told Daily Variety, "I said 'no way.' "

He dashed to the projection booth, and a few minutes later brought the lights up and stopped the screening. "We like green but not that much," he apologized to the packed house. "The movie's not supposed to look like that."

After several abortive attempts at addressing the absence of magenta, the screening was canceled. "On the right setting it was wrong and on the wrong setting it was right," explained Marshall, who apologized to various invitees gathered in the lobby for an impromptu party, helping themselves liberally to the planned post-show food and drink.

"When you shoot a movie digitally," Kennedy told Daily Variety later, "you're dependent on those projectors being calibrated perfectly and everything working perfectly. Even the condition of the screen is important."

Marshall added, "This is a modern-day version of the film breaking, but you can't paste it back together and keep going."

Across town at the ArcLight, another digital screening for Screen Actors Guild members went off without a hitch.

The chagrined publicists and filmmakers hastily scheduled a slew of screenings beginning Saturday at noon to accommodate those who missed the film Thursday.

Everyone pointed to the digital projection system, which Par rented for the occasion, as Thursday night's culprit.

Of course screening glitches are nothing new; broken film, busted projector bulbs and switched or missing reels have long plagued screenings. One publicist recalls with horror an unspooling of "Six Weeks" in which the second reel turned into a rabid killer dog movie. The 2006 Toronto Film Fest world premiere of "Borat" broke down and was canceled.

But pristine and perfect digital was supposed to solve all that.

An October digital screening at the Landmark of Steven Soderbergh's Spanish-language "Che" took cinema verite to a new level as it played without subtitles for 15 minutes before the lights went up and everyone was sent home. A few weeks later at the Wilshire Screening Room, subtitles from "Che" spilled over the opening minutes of "Doubt"; the problem was quickly fixed. A Miramax spokesman said the digital projector had not been "properly vetted" after the previous screening of "Che."

"Doubt" writer-helmer John Patrick Shanley laughed when told about the glitch, and recalled sitting through the entire premiere of "Joe vs. the Volcano" with the movie out of focus. "You just feel terrible," he said. "You work so hard and here are people getting their first exposure to the movie. Maybe their only exposure."

These recent problems raise questions about screening room hardware and projection-room expertise in operating new d-cinema projectors.

When Kennedy welcomed the Saturday noontime aud at the far grander Paramount Studio Theater, she quipped that it was like being "upgraded to first class." The pic proceeded with notably better color.

Afterward Kennedy and Miranda agreed that the Par venue was better for "Benjamin Button" anyway.

"Most cinemas are like this one," said Miranda. The digital projector "lives there. This one is flawless."

Aside from the DGA snafu, Par found one upside to digital screenings this season. At a Nov. 16 screening of "Revolutionary Road" at the Raleigh Pickford screening room, a woman became ill during the pic's final scene. When the audience yelled to turn on the lights, the projectionist halted the film, and an ambulance took the woman away.

After rewinding a few minutes, the movie resumed, so the audience could get the full impact of the climax. That would have been impractical with a film print.

 

Pushing the Wrong Button?

http://www.digitalcinemareport.com/node/598

 

December 15,2008-12-17

Nick Dager

Submitted by Nick Dager on Wed, 12/10/2008 - 15:55.

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Editor’s Note: All of us at Digital Cinema Report wish you all the best for the holiday season and a healthy and successful New Year. Our next Report will launch on January 15th, 2009.

How ironic that one of the first truly high-profile glitches in these still early and often turbulent days of digital cinema would happen during the screening of The Curious Case of Benjamin Button. The movie, which was directed by David Fincher and stars Brad Pitt and Kate Blanchett tells the story of a man who lives his life backwards from old age through childhood. For film diehards the incident may have raised some deep hope that 35mm film could somehow magically reverse the aging process and have another century of life. Digital supporters surely groaned because Fincher has been one of digital cinema’s most outspoken and noteworthy proponents.

Both movie industry trade dailies had large stories about it but Variety’s headline in classic Variety style – “Button undone by digital dilemma” – seemed to sum up the prevailing mood in Hollywood.

According to Variety writers David S. Cohen and Anne Thompson, Paramount executives “were so eager to get the movie in front of guild and Academy members and key press that they weren't willing to wait another week for release prints. In any case, finicky director David Fincher preferred to showcase his technologically ambitious digital movie – which deploys complex visual effects to make Brad Pitt age backward – with a digital projector. The two trial runs during the day had gone smoothly.”

Variety’s account said the movie had a “peculiar green tint” to it that gave cinematographer Claudio Miranda a bad feeling.” “But about 25 minutes into the film,” as Carolyn Giardina wrote in the Hollywood Reporter, “the image froze, the film stopped and the house lights went up.”

The parties involved worked for a while to get the 2K projector and server operating correctly but after a time decided to cancel the screening. Fortunately, neither report included the names of the manufacturers of the projector or server. I say fortunately because I don’t think the technology was necessarily the problem. And, as every digital cinema manufacturer I’ve spoken with about this incident privately agreed, this could have happened to any of them. Several digital screenings of the movie went off without a problem, in theatres and screening rooms where the technology has been in place for some time. (More on that in a moment.) And, as both newspapers suggested, history is filled with high-profile screenings where the film projector or the film stock itself broke down. These things have happened without making news.

So why did this incident get so much attention? There are several reasons. First, this was one of Paramount’s initial efforts to promote its $150 million movie to the industry in its build up to the Academy Awards. Among other VIPs, top executives, the producers, Fincher, and the stars were all on hand. Second, many people in Hollywood don’t understand digital cinema technology as well as they should.  Third, that’s in part due to the fact that digital cinema technology is still relatively new and, more to the point, there are many people in Hollywood who wish digital would simply go quietly away. There are a number of top directors and cinematographers who will probably never shoot a movie digitally and – witness Spielberg and last summer’s Indiana Jones installment – would much rather that their work only be seen on film.

A man I know has for almost three decades worked in the server division of National Cash Register, a company with its own history of making the technology transition from the 20th to the 21st century. He knows nothing about digital cinema but, obviously, his experience has taught him a lot about computer systems. Over Thanksgiving dinner I told him about the Benjamin Button incident and he smiled and nodded his head knowingly. He said it didn’t surprise him to hear that a digital system that sophisticated didn’t perform as expected because they generally require a lengthier shake out period.

Exhibitors are beginning to exploit the many alternative content options that are now available. In this issue alone we have a story about new live opera performances and live 3D NFL football games playing in movie theatres across the United States. In our next Report we’ll have the story of the NBA All Star game coming to a theatre near you.

The corporate powers that be in Hollywood need to understand digital cinema technology completely. Failure to immerse themselves totally in everything that digital cinema can and can’t be is critical if the major movie industry is going to survive let alone thrive. Given the industry’s history of rejecting every major new technology development from sync sound to the VCR, the odds would seem to be stacked against them.

 

Live Opera from La Scala

http://www.digitalcinemareport.com/node/573

 

December 15,2008

Submitted by Nick Dager on Tue, 12/09/2008 - 16:16.

·         Alternative Content

·Feature Stories

Don Carlo Distributed in US Theatres by Emerging Pictures and Microspace

Emerging Pictures selected Microspace to deliver the 2009 season opening night performance of Don Carlo live in high-definition from the world-renowned La Scala opera house in Milan, Italy. The event marked the first live satellite-delivered opera from La Scala, considered one of the world's most famous opera houses. Microspace delivered the event live in high definition and multi-channel surround sound to selected theaters December 7 to six states including California, Maryland, New York, Oklahoma, Pennsylvania and Rhode Island.

Emerging Pictures selected Microspace to deliver the opera world's most anticipated performance because of its experience in delivering live events in high definition via satellite," says Giovanni Cozzi, president, Emerging Pictures. "Microspace offers the reliability and expertise we need to ensure a flawless performance."

La Scala's Opening Night takes place on December 7 annually and is widely considered one of European society's most important cultural events. Italy's elite are joined in attendance by international heads of state, royalty, VIPs and the world's most ardent opera fans. Last year's Opening Night tickets soared to US $2800 each, and it is anticipated that this year's performance of Don Carlo will command even a higher premium as this opera is widely considered to be Giuseppe Verdi's greatest work. The digital cinema presentation is a collaboration between New York based Emerging Pictures and RAI Trade.

"Live alternative content is a growing business trend that is driving incremental revenue for exhibitors year-round," says Curt Tilly, manager of digital cinema distribution at Microspace. "The Microspace network of installed theater sites across the U.S., Canada and Mexico gives content providers like Emerging Pictures the option of delivering live alternative content."

Microspace offers the world's only full-time, dedicated digital cinema satellite system to distribute motion pictures as well as live performances. The system currently serves eight major motion picture studios and 22 theater networks that include Allen Theatres, Carmike Cinemas, Celebration! Cinemas, Cineplex Entertainment, Mann Theatres, Marquee Cinemas and Megaplex Theatres.

 

What's All This About 1080p and 3 Gbps?

http://www.tvtechnology.com/article/71444

by Randy Hoffner, 12.12.2008

We in the television technology field have been increasingly hearing about these two topics: "1080p" and "3 Gbps." What is all this about, anyway?

The scanning format 1920x1080 progressively scanned has in fact been with us for awhile, in the form of 1080p/24 frames per second (fps). The appearance on the market of so-called "1080p TV sets" which have 1080p displays, but many of which cannot accept 1080p input signals, has raised the awareness of 1080p in consumers. Add to this 1080p Blu-ray DVDs (which are also 1080p/24 fps) and 1080p video game material, and you have the two sources of 1080p material available to the consumer.

FILM FRAMES AND VIDEO FRAMES

Several years ago, video mastering and archiving of film-based material for the various, and proliferating, video applications, migrated to 1080p/24 (well, really 1080p/23.98). This was a good thing, for several reasons. 24p video establishes a one-to-one relationship between film frames and video frames, and its 1920 pixels per line horizontally by 1080 lines vertically afford the maximum spatial resolution available in the video world, as opposed to the file world. It is, in fact, nearly 2K resolution. Further, by adding the appropriate pulldown (2/3 in the 60 Hz world or 2/2 in the 50 Hz world); subsampling as required; and, for the 50 Hz television world, speeding up to 25 fps, it may be readily converted to any required output format, with very high quality results. Along with 24p video acquisition, 24p editing and post production of 24 fps film-sourced material has been the industry standard for some time.

It is at least theoretically possible to broadcast 1080p/24 material using the ATSC system for terrestrial digital broadcast that we employ in the United States. Along with 1080i at 30 fps and 720p at 24, 30, or 60 fps, 1080p, in the 24 and 30 fps frame rates plus their 1/1.001 variants, are listed ATSC formats. It is, therefore, technically feasible to broadcast both 1080p/24 (or 23.98) fps, and 720p/24 (23.98) fps, and ATSC receivers operating in film mode should at least theoretically be able to decode it, add 2/3 pulldown, and display it at 60 (59.94) fps. Parenthetically, the same may be said for 1080p/30 fps and 720p/30 fps.

We now know, however, that for all the once much-discussed 18 (or was it 36, or 360?) possible ATSC scanning formats, HDTV has only ever been transmitted in the United States as either 1080i/29.97 fps or 720p/59.94 fps. And for all the talk about megapixels and such, the uncompressed data rates of the three HD scanning formats that are actually used: 1920x1080i/29.97; 1280x720p/59.94; and 1920x1080p/23.98; are, by design, comparable.

The data rates for these scanning formats in 4:2:2 color difference component form (Y, R-Y, B-Y), at a bit depth of 10 bits, are as follows: For 1080i/29.97: 1920 horizontal pixels × 1080 lines × 2 components (R-Y and B-Y are each 1/2 Y) x 29.97 fps × 10 bits = approximately 1.243 Gbps. For 720p/59.94: 1280 horizontal pixels × 720 lines × 2 components × 59.94 fps × 10 bits = approximately 1.105 Gbps. For 1080p/23.98: 1920 horizontal pixels × 1080 lines × 2 components × 23.98 fps × 10 bits = approximately 0.995 Gbps. Each of these signals fits nicely into the SMPTE 292M HD-SDI, which, with overhead, has a nominal data rate of 1.485 Gbps. For terrestrial transmission, these data rates are usually reduced by being subsampled as 4:2:0, typically at 8 bits, and significantly compressed to fit into the ATSC transport stream, but we see that they all start out at relatively comparable data rates.

WHY NOT SWITCH?

Given that 1080p/23.98 fps has a one-to-one relationship between video frames and film frames, and that much primetime television programming originates on 24 fps film, and that further, some small degree of bandwidth savings might be effected by transmitting 1080p/23.98 as opposed to either 1080i/29.97 or 720p/59.94, it logically raises the question, "Why not broadcast 1080p/23.98 when possible?"

As we have just seen, the data rate for 1080p/23.98 is only slightly lower than for the other two HDTV formats, and, the degree of redundancy in video that contains 2/3 pulldown is so great that the compressed data rate savings is considerably less than might be expected. The most important reason, however, is that television networks and stations don't transmit only material that was originally captured on 24 fps film. Film or 24p-video sourced material accounts for a considerable amount of primetime programming.

However, the balance of primetime and other daypart programming, plus commercials, promos, sports, live events, upconversions from SD, 30 fps film-sourced commercials and a plethora of other things originate as 29.97 or 59.94 fps video. Intermixing 24 fps material with 60 Hz video material would thus require the network or station to constantly hot switch between scanning formats and this is never done. Switching scanning formats on the fly in this way would at best generate a huge number of switching glitches.

Given all this, it is not difficult to see why although 1080p/23.98 is a terrific mastering and archiving format for film-sourced and 24p-video sourced material, it really has no future in television broadcasting per se. It raises the further question concerning the recently speculated use of 1080p/59.94 video. It is currently impossible to broadcast this kind of video terrestrially, and broadcasting it terrestrially would require some kind of fundamental change to the ATSC standard that would have the potential to turn current ATSC receiver screens dark.

In Europe, a different landscape exists. Because Europe is really just launching HDTV, they were never tethered to MPEG-2 video coding for HD, and have opted for MPEG-4 AVC coding, which we understand can yield video quality comparable to MPEG-2 at compressed data rates as little as half those required for MPEG-2. This would seem to put 1080p/50 fps within the realm of feasibility for European HDTV broadcasting.

PROPOSED SOLUTIONS

In the United States, there are too many MPEG-2 HDTV sets in the field to contemplate shifting broadcasting to MPEG-4, in the absence of some sort of backward-compatibility scheme. Development of such a scheme is of course possible, but it is not a reality today. Possible solutions that have been proposed include duplicative parallel services, i.e., simulcasting both 1080i/30 and 1080p/60. This approach would seem to be a nonstarter for a number of reasons.

Another proposal discussed is called "scalable video coding," or SVC. SVC involves transmission of a base layer, say 1080i/30 or 720p/60, and an enhancement layer. When the two layers are combined, the result is a full 1080p/60 signal. [Does this sound a little familiar to those of you who were around in the early analog days of HDTV development?]

Two serious impediments to this idea immediately arise. First, the two layers must use the same encoding scheme: an MPEG-2 base layer cannot be combined with an MPEG-4 enhancement layer. Secondly, the transition from an interlaced base layer to a progressive enhancement layer would be significantly difficult. This approach, while not theoretically impossible, would be difficult, to say the least.

1080p/59.94 also has some serious implications for production and post production, one of which is the fact that it generates a data rate double that of the current HDTV scanning formats, or around 2.5 Gbps, requiring an interface with twice the bandwidth of today's HD-SDI. It can be done using a dual HD-SDI link, or by the implementation of SMPTE 424M, which specifies a 3 Gbps interface that is effectively a rewrite of SMPTE 292M at twice the data rate. This is easier said than done, and has some serious implications for television technologists, system designers and engineers. In the future, we will take a look at some of the challenges of working in this high-speed realm.

Randy Hoffner is a veteran TV engineer. He can be reached through TV Technology.

 

Profile: Arts Alliance Media eyes D-cinema breakthrough

http://www.screendaily.com/ScreenDailyArticle.aspx?intStoryID=42402

 

Michael Gubbins in London

17 Dec 2008 06:55

 

The conversion of the world's cinemas to digital equipment was always much more than a simple upgrade of theatre equipment. The industry had been built on a single standard - 35mm film - and, for all its glaring inefficiencies, it worked in its own way.

 

What digital cinema proposes is far more challenging as well as considerably more exciting. For the first time in history, there is the potential to make film programming fast and responsive to customer demand. There are new forms of content that can renew the business.

 

But the potentially revolutionary nature of change requires buy-in, risk taking and, of course, financial investment from the most conservative end of the business - exhibition.

 

Arts Alliance Media's founder Thomas Hoegh recognised the potential of D-cinema change long before the creation of the necessary elements to turn it into business reality such as a universally-accepted common standards and shared payment model.

 

Being an early adopter brought advantages and Arts Alliance Media (AAM) was able to establish its place as a major force in the UK and European market quickly.

 

But the problem of being ahead of the game, is that it can involve a good deal of waiting for the world to catch up.

 

AAM had a separate problem too. It was operating in Europe with a fragmented collection of widely varied territories, each with its own approaches and policies. D-cinema was running into the multi-speed Europe that holds back to much progress in the industry and means the US can always move faster.

 

False starts

 

After a grinding period of debates that often descended into the most esoteric bickering, there were reasons for optimism a couple of years ago. The DCI set of standards governing the interoperability, security and quality of D-cinema was finally though sometimes grudgingly accepted.

 

A new cost-sharing model that - the virtual print fee - was also looking like the only realistic financing option even if it was not met with universal enthusiasm.

 

Some governments were also playing a positive role, notably the creation of the UK's digital screen network in which AAM played a critical role.

 

AAM won studio support for its VPF-based plans yet still exhibitors in Europe kept their hands in their pockets. Some of the bigger chains have been hoping the studios will come in with a better deal, other smaller ones are legitimately concerned they will be left behind in the switch and are waiting, possibly in vain, for government support.

 

The deadlock appeared to be broken when , AAM finally signed a high-profile exhibitor deal with French chain Circuit George Raymond (CGR) at the end of 2007. But the floodgates remained steadfastly shut.

 

The entrance of new competition, such as XDC, which announced its plans this year, was also reckoned by many commentators to herald a big push, introducing choice into the VPF model. But the impasse remained.

 

The breakthrough deal?

 

Even AAM's deal with CGR seemed to be progressing slowly until this month when it received a $56m (Euros 43m) boost with the signing of a financing agreements with European services company Econocom and a separate deal with various private investors.

 

The Econocom money will allow the completion of the CGR 400-screen digital rollout. The rest will go to a necessary expansion of the business to meet a clear set of ambitions.

 

"This is the breakthrough we have been waiting for," chairman and founder Thomas Hoegh told ScreenDaily.

 

"This is the first major chain (in Europe) to see the VPF-powered installation completed. These contracts can now be seen to work."

 

He added:"The most significant thing is that the contracts work and if they work now in this economic environment, then they will work in any environment."

 

Hoegh believes that the fact that a bona fide deal has been completed might make a big impact, proving that deals can be done.

 

Advanced the timeframe

 

The question then is whether the ponderous nature of European rollout has now or can be decisively changed.

 

AAM's belief that we are now turning a corner is tempered to an extent by the fact that it has spent so long seemingly on the brink of the big deal that would break the deadlock.

 

But announcements have been thin on the ground. To be fair, the same is true of rivals.

 

The company wisely is not over-promising on specifics despite rumours of at least one major deal at an advanced stage.

 

Hoegh is certain that the CGR deal will have got the business thinking about making the shift sooner rather than later.

 

"There are chains looking very specifically at this deal to see if we can pull it off."

 

Timing is a critical issue. There are a number of factors with the potential to drive forward the D-cinema timetable.

 

Most obviously is the availability of quality product, particularly 3D. The Hollywood majors have made a big investment in 3D next year yet at the moment there are few screens on which the film can be shown.

 

The move has also allowed at least a temporary shift in the agenda from a long-running debate about whether the current payment models could take along smaller cinemas - though that issue will be amplified over the coming year.

 

Accentuating the positive

 

The payment issue has distracted attention from what D-cinema can bring to exhibition. AAM, for example, has been among the pioneers of live opera.

 

Delivering those benefits, however, has meant a tighter focus on what the busines can deliver.

 

Chief executive Howard Kiedaisch spells out a vision of a wide-ranging D-cinema service in which AAM plays key roles in the provision of content, financing installation and supporting customer services.

 

The new influx of money will allow the business to grow around that strategy, taking on new employees. That new finance certainly looks like a vote of confidence.

 

To focus all its energy on D-cinema, the company has jettisoned one of the components of the business which at one time looked like a core service - the Vizumi download service.

 

But there remains some convincing to do. Kiedaisch wants the company to make a strong mark not only in the UK and France but further afield.

 

Intriguingly, he wants there to be an understanding that there is a place for every size of cinema in the big tent. Details are not clear but it certainly means looking beyond the current VPF deal.

 

"No cinema is too small and no country too remote," seems to be the new mantra.

 

This is not simple altruism. AAM needs to take along a critical mass of screens into a D-cinema future in which it can take a leading role.

 

It has however decided that the time is right to force the pace.

 

RealD Launches a 3D Stereoscopic POD.

http://today3d.blogspot.com/

 

2008-12-16

The PODs present a simple conversion solution when upgrading to a new stereoscopic display monitor, such as a DLP(R) or XPOL HDTV. The PODs automatically detect the output format from a connected display device and convert most stereo-enabled software applications from native stereoscopic output format to the required format for stereo viewing on the display monitor.
The 3D PODs are designed specifically for research and development environments, where 3D visualization is heavily used and where departments or organizations are seeking alternatives to CRT display technology for stereoscopic applications. Industries include government and defense, entertainment, oil and gas, education, design and development, and medical.

Barco digital projection exclusive choice for Premiere Cinema Corp.

http://www.dcinematoday.com/dc/pr.aspx?newsID=1280

 

Kortrijk—Dec 12, 2008

Following closely on the signing of the Phase II Supply Agreement for Digital Cinema systems with Cinedigm (formerly AccessIT), Premiere Cinema Corp. exclusively selects Barco for its digital projectors and complete systems integration solution.

Digital Cinema pioneer Barco announced today the signing of an agreement with Premiere Cinema Corp. to be their sole provider of digital cinema projectors and full systems integration for the digital conversion of their circuit. The deployment includes the complete Barco family of projectors on the .98” platform (DP-1200, DP-1500 and DP-2000 digital cinema projectors) in both 2D and 3D configurations with screen servers from both Doremi and GDC.

Texas-based Premiere Cinema Corp is expanding digital cinema’s reach throughout the southeast, as they add 137 projectors to their digital deployment which currently has 42 Barco-enabled digital screens in three theatre locations.

Premiere currently operates 169 screens in Florida, Alabama and Texas, and in conjunction with Cinedigm’s technology and platforms, is scheduled to complete this phase of their deployment in the first half of 2009. Premiere will be installing many of the systems in their unique non-mezzanine theatres. In these innovative installations, Barco projectors are mounted on small pedestals above the last row of stadium seats, a configuration made possible by the projectors’ light weight and compact footprint.

As an innovator and early adopter of digital cinema technology, Premiere CEO Gary Moore extolled the virtues of his cinema conversions with Barco. “Our inauguration into the digital era occurred in the spring of 2007, with seven Barco DP-100 projectors at our theatre in Orlando’s Fashion Square Mall,” said Moore. “Our management staff and operators have had nothing but praise for the Barco systems, and have been clamoring for us to complete their theatre complexes immediately.”

Full conversion in conjunction with Barco and Cinedigm is beginning immediately. “We’re very satisfied with Barco’s digital projectors and service, and look forward to completing our circuit,” explained Moore.

“The entire Barco organization is pleased with every aspect of deploying a complete circuit for Premiere, a company with exceedingly high standards and creative ideas,” said Terri Westhafer, Director of Business Development for Barco’s digital cinema business. “The quality and dedication of each theatre’s management and technical staff within the Premiere family is exceptional. We have entered into a valued partnership with Gary Moore and his team, and look forward to supporting them as they continue their digital expedition.”

 

GDC Technology attends CineAsia 2008 with a slew of new products and 3D presentations

http://www.dcinematoday.com/dc/pr.aspx?newsID=1278

 

Cineasia, Macau—Dec 11, 2008

GDC Technology (GDC), a world leading digital cinema solution provider, showcased some of its products and held presentations on a number of 3D releases at CineAsia 2008.

CineAsia 2008 (www.cineasia.com) was held between 8-11 Dec 2008 in Macau at Wynn Macau and the Macau Tower.

GDC had a booth at the Macau Tower (Level 4) to showcase its range of products that includes:

- SA-2100AQ Digital Cinema Server (www.gdc-tech.com/sa2100A.htm) – GDC’s new fourth generation advanced digital cinema sever

- Display Maestro SDM-4000 (www.gdc-tech.com/sdm4000.htm) – GDC’s powerful server for high-end Digital Signage & On-Screen Advertising (OSA) applications

- Theatre Management System TMS-1000 (http://www.gdc-tech.com/tms.htm) – GDC’s new comprehensive solution for centralized cineplex management
 
GDC servers were also featured at the Christie, NEC/Strong International and Panasonic  booths in the Macau Tower (Level 4).

In addition, GDC did a number of 3D presentations with RealD and Barco & Xpand respectively at CineAsia 2008:

Presented by GDC and RealD on 11 Dec 2008, 11.30 a.m. – 12.30 p.m. at the Macau Tower Theatre, Level 4. The presentation featured exclusive footage from three Hollywood productions:

- “Monster vs Aliens”, Paramount Pictures International & DreamWorks Animation
- “Coraline”, Universal Pictures International
- “Ice Age 3: Dawn of the Dinosaurs”, 20th Century Fox International
 
Presented by GDC and Barco & Xpand at Barco’s booth  in the Macau Tower (Level 4)

Last but not least, Dr Man-Nang CHONG, founder and CEO of GDC Technology personally gave a talk to elaborate on GDC’s new offerings at the ICTA Seminar Series on 8 Dec 2008 at the Wynn Hotel.

 

Odeon, UCI plan to digitizing 111 of 200 cinemas.

http://today3d.blogspot.com/2008/12/odeon-uci-plan-to-digitizing-111-of-200.html

In another step on the road to cinema digitization in Europe, leading chain Odeon and UCI cinemas (owned by Terra Firma) said they are planning on digitizing 111 of their 200 cinemas in Europe for £4 million ($6 million).Odeon's intention, which was announced to the Daily Telegraph, readies the exhib for the onslaught of 3-D films hitting Euro wickets in 2009 including James Cameron's "Avatar."

Odeon's move make it's a good week for the advancement of European d-cinema. London-based digital cinema outfit Arts Alliance Media announced Wednesday that it has secured e43 million ($55.8 million) in funding from financial services firm Econocom and private investors to plow on with its digital ambitions.Odeon, clearly sold on the appeal auds of digital and 3-D, recently opened two Imax screens at busy London multiplexes that have been playing "Madagascar: Escape 2 Africa."

Odeon claims the changes will leave 70% of its European consumer base within half an hour's drive of a digital screen at one of its cinemas."This is a steppingstone to getting all of the estate fully digital," said Rupert Gavin, chief exec, Odeon and UCI. "In the U.K., the full digital roll-out will commence in 2009 and take a couple of years to complete."

3-D Movie Plans Stall as Theaters Curtail Spending (Update1)

http://www.bloomberg.com/apps/news?pid=20601103&sid=atpaARtAmcbs&refer=us

By Michael White

Dec. 5 (Bloomberg) -- The credit crisis is stalling plans to convert thousands of theaters to digital projection, threatening profits on more than a dozen 3-D films Hollywood will release next year, including DreamWorks Animation SKG’s “Monsters vs Aliens.”

Cinedigm Digital Cinema Corp., a supplier of software to run digital theaters, had planned to convert as many as 1,500 screens by March 2009. Now, with funds on hold, the company expects 100 to 200, Chief Executive Officer Bud Mayo said.

“Here we are in the December quarter, and we’re just getting going,” Mayo said in an interview.

Cinedigm is supplying software and services to one of two theater groups seeking to raise as much as $1.7 billion for the conversions. That would allow owners to install extra 3-D equipment and charge premium ticket prices for 14 films scheduled for release next year by studios including Walt Disney Co. and News Corp.

They may have to wait six months to a year for funding, said Neil Begley, an analyst at Moody’s Corp. in New York. Borrowing money now would mean double-digit interest rates, he said in an interview.

Next year’s 3-D releases include a version of the original “Toy Story” from Burbank, California-based Disney, and James Cameron’s “Avatar” from News Corp., the director’s first feature film since “Titanic” in 1997.

Disney plans five 3-D films, the most of any studio. In February, NBC Universal will release “Coraline,” based on the book by Neil Gaiman. “Monsters vs Aliens” is set for March, DreamWorks Animation’s only movie of the year.

‘Hannah Montana’

The appeal of 3-D was demonstrated in February by “Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour,” which had $70.6 million in sales, according to Box Office Mojo LLC, a film researcher. Theaters charged as much as $15 a ticket, more than double the U.S. average of $6.88 in 2007, according to Media By Numbers LLC.

Studios and theater owners are trying to convert about 28,000 screens to digital from film over three or more years.

So far, more than 4,000 screens in the U.S. and Canada have been converted, and about 1,400 have the added equipment necessary for 3-D, said Michael Lewis, chief executive officer of Beverly Hills, California-based RealD, the largest 3-D equipment supplier.

Jeffrey Katzenberg, CEO of DreamWorks Animation, said in October it was still possible as many as 2,500 screens would be 3-D ready when “Monsters vs Aliens” comes out on March 27. The Glendale, California-based company plans to make all future films available for 3-D.

3-D will be installed at more than 1,000 locations by the time Disney’s next release in the format, a Jonas Brothers concert film, opens in February, Chuck Viane, president of distribution for Walt Disney Studios, said in an interview.

Fewer Moviegoers

“Whenever the capital markets open up, I think this is one of the sure-thing bets out there,” Viane said. “I think the funding will come easily.”

Movie tickets sold in the U.S. and Canada have declined in four of the past five years, dropping to 1.41 billion in 2007, according to Media By Numbers. So far this year admissions are down 4 percent as of Nov. 30.

Digital Cinema Implementation Partners, representing the three largest U.S. theater chains, reached an agreement with five studios in September to raise as much as $1 billion to equip as many as 20,000 screens. JPMorgan Chase & Co. is leading an effort to raise the money.

The Cinema Buying Group, representing smaller operators, is working with Goldman Sachs Group Inc. and General Electric Co. to raise $600 million to $700 million for another 8,000 screens. Cinedigm is providing software and installation to the Cinema Buying Group, and will bid for work with DCIP, Mayo said.

Representatives for JPMorgan and Goldman declined to comment on financing efforts.

Tight Credit

“Everyone feels like the credit market just has to loosen up a little bit before anyone is going to be able to fund debt at the levels we’re looking at,” Robert Copple, chief financial officer for Cinemark Holdings Inc., said on a Nov. 10 conference call. Cinemark is the third-largest U.S. theater chain behind Regal Entertainment Group and AMC Entertainment Holdings Inc.

Under both plans, money will be repaid by studios based on the number of digital films shown, said John Fithian, president of the National Association of Theater Owners.

Some owners are moving ahead on their own, borrowing to convert a few screens before studios begin releasing movies next year, Mayo said. The 100 to 200 that Cinedigm plans to complete by the end of March are being financed that way, Mayo said.

Until more 3-D screens become available, most studios plan to release movies in both 3-D and conventional formats.

The first 3-D film of 2009, Lions Gate Entertainment Corp.’s “My Bloody Valentine,” will be distributed in a mix of both formats at its debut Jan. 16, Steve Rothenberg, president of theatrical distribution, said in an interview.

“There’s enough of a critical mass of 3-D locations in the U.S. and Canada that you can open up with a tremendous box office gross,” Rothenberg said. “Would we want there to be more 3-D locations, of course.”

To contact the reporter on this story: Michael White in Los Angeles at mwhite8@bloomberg.net.

Last Updated: December 5, 2008 14:05 EST

 

James Cameron acknowledges the Panasonic / XpanD 103'' 3D Plasma Display as "As good as 3D Cinema Experience"

James Cameron's gave keynote presentation at the 3D Entertainment Summit in LA. Unfortunately we weren't treated to any Avatar footage, but as always, Cameron dished up some fascinating discussion, including panning some major industry decisions. Cameron will eventually show us what 3D is truly capable of. Unlike Jeffrey Katzenberg's more broad beliefs in the future financial benefits of 3D,

 

Cameron believes that we will eventually get to the point where 3D is used like sound or color - just another standard filmmaking technique. Cameron explained that he went into Avatar with the goal of making a big blockbuster movie in 3D and hoped that there would be enough theaters to show it in. Since it took so long to make, that isn't a concern anymore, Cameron joked. But it was more important for him to "think like a filmmaker" and not like an executive. "3D has to be content driven" was his most valuable message. While most of the industry is still experimenting in 3D, Cameron says that his "proof of concept" was the two documentaries that he and Vince Pace have made - Ghosts of the Abyss and Aliens of the Deep. Cameron believes that ultimately a good movie should come first, not 3D.

 

He adds that 3D shouldn't occupy the minds of filmmakers while they're shooting, but should just be another item on the agenda, in theory. And that is exactly what everyone else is doing wrong. To the rest of the industry, 3D is a way to make money, a gimmick designed to attract audiences and sell tickets, not as a filmmaking technique. Cameron believes so firmly in this idea, that he goes as far as to say that Avatar would still be a groundbreaking movie even if you took out the 3D. And that's because from the very ground up, he focused on telling a good story and making a good movie before worrying about the 3D aspect.

 

When asked about his opinions on other filmmakers, specifically Tim Burton and his work on the upcoming Alice in Wonderland, Cameron openly criticized Burton's decision to convert to 3D after the fact. It "doesn't make any sense to shoot in 2D and convert to 3D," Cameron said. And that's not the only industry decision that he panned, the other being meager attempts to provide a 3D experience at home by releasing DVDs with anaglyphic glasses (meaning the red and blue cardboard ones) in the packing. It is "stunting 3D growth," he said, and hurting the progression of the format. Cameron's agenda wasn't to attack these decisions; instead he felt they weren't helping progress the 3D when that's what we need the most.

 

So when will we ever see a trailer for Avatar? Apparently there are a few lengthy scenes from various parts of the film that are complete, but they do not have enough finished material from the film to cut a representative teaser. He hasn't yet spoken to Fox regarding trailer placement, but he mentioned there are a few good 3D releases next year that would be perfect to debut a trailer on, including Monsters vs Aliens next March. Will we finally see a trailer then? All I know is that Cameron still has 12 months of work left on Avatar, so maybe we should stop pestering him and let him finish. After the presentation he visited the 103'' Panasonic plasma 3D prototype, powered by XpanD 3D Cinema Active Glasses and Cameron defined the experience as a "3D Cinema Experience" that will prove to film makers that 3D movies will cycle into the homes. The 3D system is powered by a Panasonic Blue-Ray player and provides 1080p to both left and right eyes. This is by far the best 3D TV ever built.

DreamWorks Animation pitch to Wall Street analysts Thursday.

http://today3d.blogspot.com/

 

December 12, 2008

Headlines were few, but attendees got a revealing tour of the company's balance sheet as well as an early look at scenes from March release "Monsters vs. Aliens."Katzenberg announced another "Madagascar" installment is in the works, aiming for a 2012 release. He also said the hurdles to exhibs converting to digital and 3-D should be cleared by the end of the first quarter and conceded to some opening-night jitters ahead of Sunday's bow for "Shrek the Musical.

"The recession and retail instability is hurting the company's homevid numbers, chief operating officer Ann Daly affirmed. "Kung Fu Panda" will ship about 10 million units, which makes it a top earner overall but shy of earlier projections in the range of 12 million.Homevid sell-through revenue industrywide will finish 2008 down 6%, Daly estimated, with once-booming new releases slumping 20%.

Theatrical fare is at an all-time high for the four-year-old company, with "Panda" and "Madagascar 2" taking in more than $1.2 billion worldwide.Focus of the session at Gotham's Ziegfeld Theater was on growth. Not only has DreamWorks made strides since its October 2004 start, execs said, but a projected $5 premium for 3-D ticket sales will greatly enhance profits."Because the costs (of 3-D) are fixed, there is substantial leverage and most of the extra revenue falls to the bottom line," said prexy and chief financial officer Lew Coleman.According to Coleman, had "Shrek the Third" been released in 3-D, assuming a $5 ticket premium and roughly $15 million in extra production and rendering costs, it would have booked $80 million of additional profit

"Monsters" is the first of a wave of 3-D productions mounted by Hollywood. Initially, Katzenberg said, DreamWorks had hoped there would be 4,000-5,000 3-D screens worldwide by the pic's March launch. Economic turmoil, especially in the credit markets, has held up conversions, though, and the number will reach only about 2,500. Even so, Katzenberg said the company is hoping 40% of admissions will be in 3-D.

On future releases such as the fourth "Shrek" in 2010, Katzenberg said he "would be disappointed if we didn't have at least 70% of admissions in 3-D."Coleman ran some intriguing numbers on the "generic ultimates" used by the company, meaning a breakdown of all revenue streams for a typical release.In 2005, a typical release made 55% of its revenue in homevid, 30% in worldwide theaters and the last 15% from TV and other venues. By 2008, that had shifted to 40% homevid, 40% theatrical and 20% TV/other.Daly pointed to the company's TV growth lately, with such TV specials as "Shrek the Halls" locked up by ABC for 13 years, two similar pic offshoots due in 2009 and 46 eps of "The Penguins of Madagascar" in the works at Nickelodeon.

Sunday's opening of "Shrek" on Broadway reps a $24 million investment, to be amortized over three years, Daly said. No returns are expected until 2010, but if the show's a hit, examples such as "Wicked" or "The Lion King" suggest annual revenue from tours and merchandise could be $100 million to $150 million. Profit would be $30 million to $50 million a year.

Da-Lite Delights with 3D Virtual Grey Big Screen

http://www.electronichouse.com/article/big_screen_in_3d_da_lite_delights/C157

Da-Lite's 3D Virtual Grey fabric is designed to maintain 99-percent of the polarization to create a 3D image.

Dec. 10, 2008 — by Steven Castle

You’ve probably heard of the 3D capability that comes with some newer TVs. And yep, you still have to don a pair of glasses or newfangled gogglelike headsets.

But what about enjoying 3D on a true, home theater–size projection screen?

Da-Lite Screen Company recently showed us the possibilities with its 3D Virtual Grey projection screen fabric. The 3D Virtual Grey fabric is specifically designed to maintain 99 percent of the polarization needed to produce a 3D image, says Blake Brubaker, Da-Lite’s vice president of sales.

“3D is really becoming a reality,” he adds. “We feel confident that we’ll see a lot more content for the 3D home market. And 3D gaming could be huge.”

Though watching 3D on a big screen is undoubtedly cool, there are some hurdles. First, you’ll need two projectors to deliver the two video images necessary for 3D—and even in this day of relatively inexpensive front projectors, that could be impractical.

In addition, the 3D Virtual Grey material will cost you 40-percent to 50-percent more than a traditional white matte fabric, says Da-Lite. You also wouldn’t want to use the 3D Virtual Grey screen for regular 2D viewing, because the screen would produce a limited field of view. So unless everything you watch will be in 3D, you’d better include another screen in your budget.

“3D is really in its infancy right now,” Brubaker admits. Though when we’re writing about great big 3D home theaters in a year or two, Da-Lite plans to be there.

 

Subdued CineAsia spotlights digital 3D rollout

http://today3d.blogspot.com/

 

December 12, 2008

 

With the credit crisis, the specter of the Mumbai terror attacks and Thailand's rumbling politics hanging heavy in the air, this year's CineAsia exhibition and distribution convention was subdued.Despite the depressed atmosphere, most presenters at the four-day confab, which ended late Thursday night, stuck strictly to script, actively pushing the digital conversion agenda to Asian exhibitors.

Hollywood majors did their best to convince cinema operators with 2K digital screenings of tentpoles like the Nicole Kidman starrer "Australia" and Disney's 3-D offering "Bolt," plus rough footage from the upcoming Sony release "Terminator: Salvation," presented via satellite by helmer McG, a recipient of the confab's Kodak filmmaker of the year nod.

Despite intense tubthumping of d-cinema (four of the six seminars concentrated on digital projection and 3-D technology), there was an undercurrent of impatience from studio and equipment execs on the dawdling rollout of 3-D screens in Asia."The whole industry, if it is constrained with too few screens, is going to suffer," said Wes Stalcup, worldwide manager of DLP Cinema Products. "There's going to be money left on the table because either a movie had to be pulled off a 3-D screen for another one coming behind it or the total number of screens that the studios need aren't available."Asian exhibitors, however, had mixed reactions to 3-D. "We will be providing 3-D in our showcase properties, but we don't see a large penetration of that in the next 24 months," said Tushar Dhingra, chief operating officer of Indian exhibitor BIG Cinemas.The news for digital conversion was brighter. BIG cinemas announced plans for 500 d-cinema screens in India by 2010, while Hong Kong-based server technology firm GDC unveiled plans to install 6,000 DCI-compliant digital projection systems across Asia under a virtual print fee scheme paid for in part by the Hollywood majors.

Exhibitors pointed to alternative content as a push for converting screens to digital. Robert Ward, director of Australian distributor and exhibitor Filmways, revealed that digital projections of live concert events routinely yielded premiums of $6-$10 over top of normal ticket prices.

Naoshi Yoda, managing director of Japanese exhibitor T-Joy, mentioned the live transmission of a concert by Japanese rock band L'arc en ciel, which amassed a 4,000-strong audience in d-cinemas in Japan, as an example of local programming.Ultimately, however, both exhibitors and distributors agreed that good quality studio content remained the biggest pull for audiences, a view succinctly put by Jeffrey Forman, senior VP of sales and marketing for Walt Disney Studios Motion Pictures Intl."We’ve got a lot of really great product coming out, and I think the real winner is the consumer because in the end they get a really great theatrical experience.

IMAX Announces New Management Structure as It Enters New Phase in Its Growth

http://phx.corporate-ir.net/phoenix.zhtml?c=118725&p=irol-newsArticle_print&ID=1235513&highlight=

 

December 12, 2008

  

 Bradley J. Wechsler to Become Sole Chairman of the Board of IMAX

    Effective April 1, 2009; Richard L. Gelfond to Become Sole CEO and Remain

    Member of the Board

 

    Wechsler to Focus Primarily on Corporate Strategy, Governance and

    Business Development; Gelfond to Lead Execution of Business, Strategy and

    Operations

 

TORONTO, Dec. 12 /PRNewswire-FirstCall/ - IMAX Corporation (NASDAQ: IMAX; TSX: IMX) today announced that effective April 1, 2009, Bradley J. Wechsler, currently co-Chairman and co-CEO of the Company, will become the sole Chairman of the Board. Richard L. Gelfond, currently co-Chairman and co-CEO, will become the sole CEO, reporting to the Board of Directors, and will also retain his seat on the Board. This new management structure will be put in place as the Company continues to successfully implement its Hollywood and digital strategies and enters a new phase in IMAX's growth. With the anticipated rapid growth of the IMAX network over the next several years, Messrs. Wechsler and Gelfond also announced that IMAX will begin a search for a Chief Operating Officer to help manage the Company's expanded operations. The Chief Operating Officer will report to Mr. Gelfond.

 

Mr. Wechsler initiated discussions with Mr. Gelfond and the Board about a new role several months ago as the Company's new digital strategy and key joint ventures entered their implementation phase. With the execution of the digital rollout on track, IMAX's feature film slate and studio relationships expanding significantly, a robust systems backlog, and a strong pipeline of new business and joint ventures in place, Messrs. Wechsler and Gelfond and the Board believe this is the right time for the management transition.

 

Mr. Wechsler has helped build and run IMAX for more than a decade - providing strategic and market leadership; developing important relationships with major studio and joint venture partners; building successful teams both inside and outside the Company; and leading some of the Company's most important business initiatives. He has played a vital role in developing and executing the Company's digital strategy - as well as in forging some of the original relationships that led to its new business model-changing joint ventures, which will help to drive IMAX's growth and financial performance going forward.

 

In his new role, Mr. Wechsler will actively focus on broader strategic issues, including capital market strategies, corporate governance and business development opportunities for the Company, while Mr. Gelfond will have responsibility for running the business, executing Company strategy, overseeing relationships with the financial community and ensuring the continued success of IMAX's Hollywood film strategy, digital theatre system roll-out and joint-venture theatre businesses.

 

Messrs. Wechsler and Gelfond said, "We have been close business partners for more than 14 years, acquiring IMAX in March 1994 and bringing the Company public in June of that year. Together, we have developed the strategy that transformed the IMAX business from a niche film entertainment experience found in museums and institutions into one of the world's leading entertainment technology companies. IMAX today is rapidly expanding its theatrical distribution platform worldwide by exhibiting blockbuster Hollywood films in the best format available for consumers in more than 300 theatres and multiplexes around the world. We have a strong management team in place and have made tremendous progress over the past year. The implementation of our new digital theatre systems and our joint-venture business model with commercial theatre operators has advanced considerably. Our strategy is taking hold, and we are on our way to delivering improved financial performance."

 

Continued Mr. Wechsler, "Now that we have begun to successfully implement IMAX's Hollywood and digital strategies, I think this is the ideal time for me to transition into the Chairman's role. This will allow me to continue to use my energy and talents to benefit IMAX, while also pursuing other opportunities of interest to me. This is a natural evolution for the Company, and I look forward to continuing to work closely with Rich to achieve our goals over the short and long term."

 

Added Mr. Gelfond, "Brad has been and will continue to be a tremendous partner who has brought significant value to the business in many ways over the years. This restructuring will allow each of us to continue to apply our respective strengths to create even more value for IMAX shareholders, customers and consumers around the world. Brad has great strategic skills and business development acumen, and freeing him up to focus on these areas will benefit the Company over the long term."

 

As of September 30, 2008, IMAX has signed contracts for 207 IMAX digital theatre systems. IMAX currently has 38 digital joint-revenue sharing theatre systems in operation and is on track to install approximately 45 digital theatre systems by the end of the year. Reflecting only those scheduled installations already in backlog, the Company estimates having between 115 and 125 joint revenue sharing systems in operation at the end of 2009. In addition, the Company has filled out the majority of its film slate through 2009 and into 2010 with major Hollywood films from almost every significant studio including Dreamworks, Paramount, Warner Bros. and 20th Century Fox. Most recently, on November 19th, IMAX announced a new five-picture arrangement with Walt Disney Studios.

 

Concluded Messrs. Wechsler and Gelfond, "We are excited about the opportunities we see for IMAX as we enter a new phase of growth. Our digital roll-out is on track and we have a strong Hollywood feature film slate, with virtually every major film studio releasing blockbuster films in IMAX. These changes in the leadership and management of IMAX are being done at the ideal time, and we believe they will ensure our continued growth and long-term success."

 

 

Doremi and RealD to Incorporate Real-Time 3D EQ - MarketWatch

http://today3d.blogspot.com/2008/12/doremi-and-reald-to-incorporate-real.html

 

Doremi and RealD to Incorporate Real-Time 3D EQ: "RealD, the world's largest digital 3D experience provider, today announced an agreement with Doremi Cinema LLC to integrate RealD's proprietary 3D EQ technology in Doremi's digital cinema servers. This new feature for RealD's award-winning 3D cinema system will be available on all new Doremi servers beginning in March 2009, while existing Doremi servers will be updated in all RealD installations at that time.

 

'RealD's 3D EQ 'ghostbusting' technology significantly improves the viewing of 3D cinema features,' states Joshua Greer, president and co-founder of RealD. 'Traditionally, this process is incorporated into the master by our studio partners. By moving this process into the theatres, it allows us to simplify the distribution process while optimizing the viewing experience. It's a win-win for the studios, exhibitors and audiences.'

 

'Doremi strives to provide exhibitors and distributors with the best feature sets available in its digital cinema servers,' comments Michael Archer, vice president of Doremi Digital Cinema. 'Integrating the RealD 'ghostbusting' technology in our DCP line of servers illustrates another example for Doremi's leadership in digital cinema server technology and commitment to its customers needs.'

Doremi digital cinema servers are currently installed in over 80% of all"

Arts Alliance nets $55 mil for digital initiatives

http://www.hollywoodreporter.com/hr/content_display/world/news/e3id2b53d64773aa271b2f5110cbc93d787

 

Inks long-term partnership with Arqiva Satellite and Media

By Stuart Kemp

Dec 10, 2008, 03:25 PM ET

LONDON -- Arts Alliance Media, Europe's digital-cinema powerhouse, said Wednesday that it has raised 43 million euros ($55.8 million) of funding from financial-services firm Econocom and private investors to fuel its digital rollout ambitions.

The company also has sealed a long-term strategic partnership with Arqiva Satellite and Media for the satellite distribution of titles and alternative content into theaters throughout Europe.

The brace of deals will help fuel digital-exhibition rollout in Europe and should see theaters equipped to handle the myriad 3-D-formatted movies coming down the pipe from 2009 onward.

AAM CEO Howard Kiedaisch called the deals "significant investments" and expressed his delight at striking the deals in challenging market conditions.

Econocom Financial Services will provide 20 million euros ($26 million) for the purchase of equipment to complete the ongoing digitalization of France's Circuit George Raymond cinema circuit. Via its virtual print fee-based rollout agreement with AAM, CGR has installed 126 digital screens to date and is aiming to complete the digital makeover of all 400 of its screens by the spring.

The additional 23 million euros ($29.8 million) in funding has been raised from private investors and will fuel AAM's ambitions to build up its own operations.

AAM has formalized its partnership with Arqiva, having co-operated on projects including the distribution of the Palme d'Or winning pic "Entre Les Murs."

AAM and Arqiva also have been working together recently on the live HD transmissions of opera and ballet performances from London's Royal Opera House.

 

Arts Alliance secures funding boost

http://www.variety.com/index.asp?layout=print_story&articleid=VR1117997161&categoryid=19

Posted: Wed., Dec. 10, 2008, 9:35am PT

Company forms partnership with Arqiva

By ARCHIE THOMAS

Europe's leading digital cinema chain, Arts Alliance Media, announced Wednesday that it has secured e43 million ($55.8 million) in funding from financial services firm Econocom and private investors.

London-based AAM has also pacted with Arqiva Satellite and Media to transmit films by satellite.

The news boosts AAM as it leads the charge to convert Euro theaters to digital, meaning that more film fans will be able to see the 13 3-D movies skedded for release in 2009, including "Monsters vs. Aliens" and "Avatar."

Econocom will provide $26 million to buy equipment to complete the digitalization of France's Circuit George Raymond loop. Via its virtual print fee-based rollout agreement with AAM, CGR has installed 126 d-screens and aims to complete the digital makeover of all 400 of its screens early in 2009.

The other $29.8 million was raised from private investors and will fund AAM as it builds its infrastructure, continues to rollout d-cinema and develop new revenue streams.

AAM's partnership with Arqiva formalizes an already-existing relationship. In October the pair distributed the Palme d'Or-winning pic "Entre les murs" to CGR's megaplex in Bordeaux, France, by satellite. The pair have also been working together on the live HD transmissions of opera and ballet from London's Royal Opera House.

 

Arts Alliance Media gains $56m boost to D-cinema ambitions

http://www.screendaily.com/ScreenDailyArticle.aspx?intStoryID=42331

 

Michael Gubbins in London

10 Dec 2008 20:12

 

Arts Alliance Media's (AAM) ambitions for digital conversion of Europe's cinemas has received a $56m (Euros 43m) boost with the signing of a financing agreement with European services company Econocom and various private investors.

 

The company has also announced a strategic partnership with Arqiva Satellite & Media for the satellite distribution of content.

 

Both deals will be significant steps forward for AAM, which has been anxious to advance a digital cinema switchover that has been slow in Europe.

 

Despite AAM's signing up last year of French chain Circuit George Raymond (CGR), an impasse over who pays for conversion has continued to stall the growth of digital screens, although progress is believed to be happening behind the scenes at the moment.

 

The digital discussions in Europe have been dominated by a debate about how smaller cinemas will be able to make the switch, with predictions of mass closures without support.

 

Some commentators have argued that the most urgent priority for D-cinema change is to show tangible signs of progress with the bigger exhibitors.

 

AAM will hope the latest announcements will serve that purpose. Econocom Financial Services, will provide $26m (Euros 20m) the purchase of equipment to complete the CGR deployment.

 

CGR has so far installed 126 digital screens through a virtual print fee-based rollout agreement with AAM. It hopes to finish the change to all its 400 screens by next Spring.

 

The remaining finance will support AAM's future growth with investors, who are not being named, taking a shareholding.

 

The Arqiva deal includes both film and live events, which have been one of the few real digital cinema successes in recent years.

 

2012 Olympic Games - 3D.

http://today3d.blogspot.com/

Posted: 10 Dec 2008 06:22 AM CST

A London conference on Sports Broadcasting heard a clutch of speakers praising the progress being made around the world in terms of 3D broadcasting. One speaker said that home 3D viewing could happen by 2012.

Peter Angell is Director of Production & Programming at Host Broadcast Services (HBS), and one of the team that brought the world the 2002 and 2006 FIFA World (soccer) Cups. He was project director for the 15th Asian Games in Doha in 2006. Angell is a self-admitted enthusiast for HDTV and its natural successor 3D. He says that 3D is already a reality for closed circuit transmissions to cinemas and theatres, including sport, rock concerts, opera and such like. He said that the 2012 London Olympic Games is the biggest event on the sports horizon, but urged broadcasters to get the HDTV habit. “I am a bit disappointed that UK and European broadcasters have not embraced HD. Flat-panel sales have gone through the roof. The bit that’s missing is the broadcasting [of signals].”

Angell rhetorically asked whether HDTV was good enough? “Has too much emphasis been put on squeezing ever more channels into the available bandwidth, and as a result delivering channels that are near-unwatchable in standard definition,” he asked. “Sport in particular comes across especially badly in low-bandwidth environments.”

“What I see when we go out on productions is that the equipment is all HDTV, even if the transmission is going out in SD. The paradigm has shifted. The factories have done their job. Everything is HD, from acquisition to consumer equipment. This missing link is the broadcaster. There is a responsibility upon broadcasters to deliver more HD channels to consumers. A dozen or so HD channels on BSkyB doesn’t stack up out of 400 available channels.”

“The industry must look ahead,” urged Angell. “MPEG4/H.264 is the route to success. It is now a standard in the broadcast world, and the internet world. 3D high definition is embryonic today. The USA is leading the way in terms of 3D production. But we are already on the cusp of jumping into a 3D high-def world, perhaps before having sorted out the conventional HD technology. I’d ask that our industry address HDTV very quickly so that we can then move forward quickly into 3D. It feels sexy, and looks good. It can also make you want to throw up, so there’s more work to be done before we release the technology on an unsuspecting public.”

Assorted test transmissions have taken place around the world, but Angell said more work needed to be done on discovering whether the public really was ready for a 90 minute soccer game in 3D, or 2 hours of Formula 1 in 3D, without getting a headache.

“Vince Pace in the US is doing great work with studio rigs, but they’re too big and cumbersome for the broadcasting world. On transmission, get a frame out and you are in deep, deep trouble. Display prices need to come down for 3D display. Just at the moment home viewing of 3D doesn’t seem to be an option. Out of home viewing, perhaps in a ‘tribal’ environment on the big screen is the way forward in the short term. Then perhaps transmissions to the home will be an option by [the London Olympics] in 2012.”