XPAND Supports 3D Deployment with Strategic Offer for Funding Exhibitors 3D System Installations

http://www.digitalcinemainfo.com/xpand3Ddigitalcinema_05_11_09.php

May 11, 2009

Source: XpanD

XPAND, a worldwide authority in 3D cinemas and technology platforms, formally announced today the company will offer limited-time special rates to exhibitors who purchase an XPAND 3D theater system to add a second 3D auditorium regardless of the brand of 3D system initially installed in a multiplex. The offer runs through July 15, 2009.

This offer is a strategic move to improve affordability and promote accelerated deployment of 3D digital systems in recognition of the extensive and ever-expanding line-up of Hollywood 3D theatrical content. A second screen permits the exhibitor to hold each 3D release for a longer playtime and thus realize its full income potential in each complex. An extended 3D film engagement means not only more profitability, it also allows 3D films to reach more audiences, generating even greater demand to see movies in 3D. XPAND can easily outfit any size theater without the expense of a silver screen or ancillary projector filtering equipment. By this special offer, XPAND wants to create an additional and immediate incentive for exhibitors to install a second 3D auditorium in each complex.

With eighteen upcoming digital 3D feature films, The Walt Disney Studios is naturally supportive of XPAND’S initiative to increase 3D capacity. Mark Zoradi, president of Walt Disney Studios Motion Pictures Group, said, “Exhibitors have used XPAND 3D systems to present our digital 3D releases. Our upcoming 3D presentation of Disney/Pixar’s ‘Up’ at the Cannes Film Festival will be presented using their system. We are consistently very pleased with the quality of presentation. We also appreciate the eco-friendly re-usable glasses solution XpanD provides. XPAND’s bold stroke to add 3D screen capacity will obviously benefit exhibitors and studios alike.”

Maria Costeira, CEO of XPAND, said, “We’re completely committed to the success of 3D. Since we consider ourselves to have the best and most sensible system on the market, we feel ideally positioned to offer the cinema industry a solution that would meet both economic viability and an immediate demand.” “Building our network of theaters is also building relationships and with a solid brand of technology, plus the special rates we offer exhibitors, enhances opportunity to compete most effectively and efficiently in the 3D marketplace.”

Effective only through July 15th, XPAND will offer the second 3D system in each participating complex at half-price based on prices in effect preceding this announcement. With nearly 800 installations globally, XPAND utilizes active 3D glasses, which are sold separately. XPAND recently launched their newest model, the X101 Series, which it believes offers the most superior stereoscopic viewing in the market, along with an array of special features, including replacement batteries and security tags. The ecology-minded reusable glasses have a sleek and durable design that movie patrons are sure to favor.

XPAND hopes the limited-time offer will accelerate deployment of 3D second screens by giving exhibitors an immediate incentive to double their 3D capacity, at a substantial discount, irrespective of brand of 3D system initially installed in each of their complexes.

 

 

JVC introduces 8K projector

http://www.crunchgear.com/2009/05/12/jvc-introduces-8k-projector/

 

by Devin Coldewey on May 12, 2009

Because of the growing number of consumer-level cameras with 100-megapixel sensors and camcorders shooting at 4240p, JVC has come out with a new 8K (that’s 8000 horizontal pixels) projector with 10,000 lumens of brightness and a 5500:1 contrast ratio. Finally, an ultra-high-def projector the whole family can enjoy!

Actually, it’s pretty ridiculous. 8K content is pretty much…impossible to find right now. Unless you were to make a motion-JPEG movie out of full-size shots from a Hasselblad, I don’t think 8K is even approaching necessary. Fortunately, it also supports 4K (and why shouldn’t it?), a more reachable standard and one at which hi-def cinema cameras are actually shooting.

They’re also releasing a 4K camera, but my industry insider says it’s more of a broadcast cam, especially considering how boxy and straightforward it is; no rails, no customization, etc. Plus it costs “under $200,000.” You may remember that Red has had a camera shooting that resolution for quite some time, although it’s not meant for a broadcast environment. And the rumors of a Red projector have died down, so this JVC one may be a new standard for getting that high-def footage up on the big screen.

 

RealD Introduces RealD LP, the World's First Mobile, Single-Projector 3D Solution

http://2-pop.com/DigitalCinematography/article/82702

 

May 12, 2009

 

Affordable and flexible high-quality 3D experience for education, commercial and industrial applications.

 

Los Angeles -- After dazzling tens of millions of filmgoers worldwide with attention-grabbing 3D, RealD, the world’s leading 3D technology company, is introducing the RealD LP (Linear Polarizing Z Screen) to bring the power of 3D to the small screen. The world’s first mobile, single-projector, passive 3D solution, the RealD LP brings the vibrancy of high-quality 3D to smaller venues such as conference rooms, R&D centers, museum exhibits, mobile education centers, virtual rides and other entertainment attractions. Designed to be set up for individual 3D presentations in minutes, or permanently mounted for long term use, the RealD LP allows the flexibility of switching between 2D and 3D on the fly while alleviating maintenance and other issues of dual-projector 3D systems.

 

“3D content is more engaging, memorable and productive,” said Joshua Greer, president of RealD. “The RealD LP creates stunning 3D images for small or medium size audiences anytime, anywhere, bringing new possibilities to using the power of 3D in presentations, product development and virtual attractions.”

 

 

The RealD LP is an externally mounted peripheral for a single 3D-enabled DLP projector, with electronic controls conveniently integrated inside the device. When 3D content is fed to the projector in full-resolution, frame-sequential format, the RealD LP allows content to be seen in 3D by polarizing right- and left-eye images. Viewers wear comfortable, affordable and reusable RealD eyewear custom built for the LP.

 

Suitable for screens up to 17 feet wide, the RealD LP works with 3D-enabled projectors such as NEC NC800, Christie Mirage HD, and Lightspeed Design HD DepthQ, along with a silver screen from Harkness, MDI or Stewart.

 

The RealD LP is available for lease through the company’s Professional division.

 

NEWS ON THE DEVELOPMENT OF DIGITALISATION

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

 

MORE DIGITAL SCREENINGS AT THE CANNES FILM FESTIVAL

 After the Opening Ceremony including the 3D presentation of the new Disney Picture “Up” – a world premiere - a wealth of digital screenings will take place during the 62nd Cannes Film Festival.

These are the key figures for the 2009 edition: 50 digital films including 3D, 100 digital screenings, 19 digital systems. There had been 37 digital films in 2008 and 20 in 2007.

XDC, Christie, XpanD and Doremi are the equipment suppliers whilst the French CST ensures technical supervision of the projections given during the Festival.

 

 

DUTCH INDEPENDENT CINEMAS HAVE CREATED A BUYERS’ GROUP TO GO DIGITAL

 Last February Amsterdam Booking Company B.V. (ABC), a buyers’ group representing Dutch independent cinemas, announced that they would digitalise 68 screens in 20 cinemas across The Netherlands. For this purpose they have signed an agreement with Arts Alliance Media and chosen Christie and Doremi as equipment suppliers.

Paul Visser, ABC’s managing director, said: “We see clearly what the future of cinema is going to be: digital, 3D and live events. We are proud to be the first widespread movers in the Netherlands.”

The ABC roll-out has started equipping screens for the Dutch release of Disney’s 3D film “Bolt”. Other upcoming 2009 3D movies for the ABC rollout will include “Up” (Pixar/Disney), “Ice Age 3” (Twentieth Century Fox), “Planet 51” (Sony Pictures), “Toy Story 3D” (Pixar/Disney) and “Avatar” (Twentieth Century Fox).

 

 

SPAIN: YELMO ADDS MORE DIGITAL SCREENS

 Yelmo Cines, one of Spain’s largest exhibition chains, decided last March to equip 18 new screens in 18 different sites throughout their chain with digital cinema, 3D and satellite functions.

The deal follows Arts Alliance Media installation of digital projection equipment for 5 screens at Yelmo’s Isla Azul complex in Madrid last summer.

Fernando Evole, CEO of Yelmo Cines, said: “The digital cinema trial that we have been carrying out at Isla Azul has been a great success. That’s why we are now extending the installation of digital systems for 3D at 18 of our sites.”

 

 

3D DIGITAL SCREENS ACROSS CENTRAL EUROPE FOR PALACE CINEMAS

 Palace Cinemas, the exhibition company founded in 1999 to operate cinemas in Central Europe, announced last March the addition of twelve 3D digital screens at their sites in the Czech Republic, Slovakia and Hungary using Masterimage 3D technology in eleven cases and RealD at Palace West End in Budapest.

Projectors are supplied by Barco whilst servers by XDC.

 

 

CGR WANTS TO BUILD OUT FRANCE’S LARGEST 3D CIRCUIT

 At the end of April CGR, the third largest exhibition chain in France, and RealD announced an agreement aiming at the installation of a total of 200 3D-enabled screens in 33 locations.

 

Jocelyn Boussy, chief executive officer of CGR, the first French exhibitor to decide on the digitalisation of all their screens through a VPF agreement signed with Arts Alliance Media in 2008, has defined this move into the realm of 3D as another example of CGR’s ability to seize new opportunities in the cinema business.

 

 

CINEMA PARK IS THE LEADER IN THE RUSSIAN DIGITAL CINEMA MARKET

 According to the statistics on digital screens in Russia, showing the situation as at 19 March 2009, Cinema Park is the main player in this sector thanks to its 27 digital screens, all 3D-enabled.

The key figures for Russia, published by Nevafilm, are: 120 digital screens (out of which 117 are also equipped for 3D), installed in 97 sites in 47 different towns. The main market is Moscow, with 24 screens, followed by St Petersburg (8) and 

Pixar loves 3D. Except when it loves 2D

http://www.riskybusinessblog.com/2009/05/up-john-lasseter-cannes.html

By Steven Zeitchik

John Lasseter loves 3D animation and all the 21st century technology. Or is it hand-drawn animation and all the 50's technology?

A room that started out tepid at the opening-day press conference in Cannes for Pixar's "Up" warmed up when the Pixar chief creative officer closed the press conference with an impassioned, three-minute monologue on the importance of storytelling and character in animated films -- exactly what the French/Belgian/German media needed to hear.

Before that, Lasseter was passionate -- in his Hawaiian shirt, jes'-regular-folks sort of way -- about the prospects and value of 3D if it's used properly.

"In 3D sometimes, when you do all the 'coming at you' stuff and everyone laughs and they're out of the story. So we tried to restrict that. But I think 3D is a fantastic device to get you into the story that much more."

And then, feeling the 3D groove, this bold statement:

"All our films from here on in will be made in 3D, both here and at Disney Animation Studios."

Fair enough. It's the future, as all the glasses-loving people tell us, and he's got what will surely be one of the big 3D moneymakers of the year.

But then later, asked about the future of animation, Lasseter gave this unexpected response.

"What I'm excited is Disney bringing back hand drawn animation. They kept saying audiences don't want to want to watch 2D movies. They don't want to watch bad movies. 2D became the scapegoat for bad movies."

Then: "We're bringing back 2D animation," citing Disney Animation's holiday release of the more traditional, hand-drawn pic "The Princess and the Frog."

"What's old is new again for audience who haven't felt this kind of film before," he said. "It will get stronger and stronger in next few years."

So it's all about the three-dimensional, glasses-friendly digital future.

Or about those meticulously drawn sketches you remember from being a kid.

Imax seeks to repair blog complaint damage

http://www.hollywoodreporter.com/hr/content_display/film/news/e3ic20ecec53f0ea15b2c43450b03e98704

 

Investors day conference used to trumpet Imax experience

 

By Etan Vlessing

May 13, 2009, 02:16 PM ET

 

TORONTO -- Imax Corp. worked hard Wednesday to repair the damage done a day earlier by "Parks and Recreation" co-star Aziz Ansari when he complained he paid $5 more to see "Star Trek" on an Imax/AMC screen barely bigger than a existing 35mm screen.

Imax executives spent the better part of the morning during their investors day conference trumpeting how the "Imax experience" is more immersive than traditional cinema-going, rather than woo investors with their usual pep talk about how the current digital projection and joint-venture theatre rollout will restore profitability this year.

"We know there are risks we don't see," Imax CEO Rich Gelfond conceded after being blind-sided Tuesday by Ansari's comments on the blogosphere about shrinking Imax digital screens at the local multiplex.

Gelfond told investors the current premium ticket price for Hollywood movies on Imax screens is warranted because the large format exhibitor offers more than screen size, and in particular the digitally-remastering of Hollywood movies for superior screen resolution and sound.

"There's a lot more to it than putting a (digital) projector on a larger screen or a theatre that's been retrofitted. It's a very complicated, fully integrated, end-to-end solution," he said of new digital Imax screens.

Investors were also told Imax has under patent the ability to remove the first four rows of seats in an auditorium to bring a multiplex screen closer to an audience, and so dramatically improve the field of vision.

Ansari's comments challenges Imax because the giant screen exhibitor has figured out how to retrofit existing multiplex auditoriums with a new digital projection system at a lower cost and higher return for exhibitors.

The drawback is patrons at the local multiplex will encounter a far smaller version of the grand canyon-sized theatre for which the brand has long been synonymous.

At the same time, the digitally-remastering of Hollywood movies means the major studios can get their product on Imax screens at virtually no extra cost, Gelfond told investors.

New digital screens are also key to Imax being able to project 3D movies, which earn the premium ticket price.

Gelfond said the major studios will see value in Imax 3D screens as long as the number of 3D-capable screens at local multiplexes, at around 2,000 currently, remains well below the 5,000 screens initially anticipated by now

 

Cannes Film Festival opening of Pixar's "Up - Christie is installing two of its SB (super bright) projectors for the 3D screening

http://celluloidjunkie.com/2009/05/12/daily-cinema-roundup-tuesday-12-may-hollywood-is-providing-people-with-some-pretty-sweet-two-hour-vacations/

 

The Cannes Film Festival opening of Pixar’s “Up” (above) is opening un petit boîte de Pandore regarding 3D in France. From AFP, “In France, for instance, “Up” will screen in 800 movie theatres from July 29, but only 120 are kitted out to show it in 3D. The French release of “Monsters and Aliens” was hamstrung by an unseemly row between Paramount, distributors and cinemas over the extra costs, although Pixar settled a similar row by offering cinemas a slice of ticket revenues for its hit “Bolt.” Another glitch in the studios’ plan: filmmakers, distributors and cinemas cannot agree on who should pay for the glasses that viewers still need to get the full effect.” What isn’t mentioned is that French audio-visual body CST has strict rules about quality norms for cinemas and that one of these is light output - something that any 3D system struggles to achieve on screens above a certain size. Maybe that’s why Christie is installing two of its SB (super bright) projectors for the 3D screening of “Up.” We are hoping for a full report from Sperling;

Why You Probably Shouldn't Waste $5 More For Digital IMAX

http://www.slashfilm.com/2009/05/11/why-you-probably-shouldnt-waste-5-more-for-digital-imax/

 

Posted on Monday, May 11th, 2009 at 10:56 pm by: Peter Sciretta

Digital IMAX is something I’ve been meaning to write about for a while now. I’ll be very clear about this — IMAX is watering down the name brand by licensing out their name and “technologies” to a series movie screens around the country which aren’t anywhere near the size of a traditional IMAX screen.

In the past, I’ve praised IMAX, specifically Christopher Nolan’s use of IMAX cameras in The Dark Knight. While I haven’t really been on board with the IMAX upconversions of Hollywood films, I’ve been a huge supporter of the format and the company. But digital IMAX is not something I can support.

Actor/comedian Aziz Ansari went to see Star Trek: The IMAX Experience at the AMC Theatre in Burbank over the weekend. He paid $5 more per ticket for the IMAX presentation, but was shocked to discover that the IMAX Digital screen was only slightly larger than a normal movie theater screen. You can read Aziz’s rant on the experience on his tumblr blog azizisbored.

Not only are the IMAX Digital screens much smaller in size, but also a much lower resolution. IMAX digital currently uses two 2K-resolution Christie projectors to project two 2K images over each other, producing an image that is potentially of a slightly higher resolution than common 2K digital cinema. But with AMC installing Sony 4K digital cinema projection systems in all 309 theaters and 4,628 screens by 2012, why would anyone want to pay $5 more for a lower resolution theatrical experience?

The most appalling thing about the practice is that the Digital IMAX theatres are simply marked as “IMAX,” drawing no distinction to the traditional 15/70mm IMAX theater. Read this article on LF Examiner for more information.

 

backlash against IMAX Digital

http://celluloidjunkie.com/2009/05/12/daily-cinema-roundup-tuesday-12-may-hollywood-is-providing-people-with-some-pretty-sweet-two-hour-vacations/

 

Posted by Patrick von Sychowski | May 12, 2009 7:59 am

- The backlash against IMAX Digital appears to have begun in earnest with a Slashfilm blog post titled ‘Why You Probably Shouldn’t Waste $5 More For Digital IMAX‘. Imax gets taken up for the shrinking screen size (see comparison above), as well as the resolution of the new projectors. “Not only are the IMAX Digital screens much smaller in size, but also a much lower resolution. IMAX digital currently uses two 2K-resolution Christie projectors
to project two 2K images over each other, producing an image that is potentially of a slightly higher resolution than common 2K digital cinema. But with AMC installing Sony 4K digital cinema projection systems in all 309 theaters and 4,628 screens by 2012, why would anyone want to pay $5 more for a lower resolution theatrical experience?” A knowledgeable industry insider told me at this year’s ShoWest that he was surprised that the audience hadn’t cottoned on to what he termed a ‘con trick’. Looks like they might do;

 

XDC Makes Complete Digital Breakthrough at the 62nd Cannes Film Festival:

Cannes, May 13th, 2009

50 Digital Films (incl. 3D) - 100 Digital Screenings - 19 Digital Systems !

XDC, Official Partner for Digital Cinema, will support over 100 digital screenings of the whole official selection as well as the Market activities.

Digital projection in Cannes has now become part of the show. Tonight, the 62nd Cannes Festival will begin its Opening Ceremony with a 3D digital feature film, the new Disney Pixar studios motion picture, UP.

Serge Plasch, CEO & Managing Director of XDC International: "XDC is very proud to be a long term partner of the Cannes Film Festival, an optimal competition that will showcase the best of the digital cinema industry. This exciting commitment gives XDC the opportunity to demonstrate our know how as the Leading Pan-European Service Company. Digital Cinema is definitely on the move in Europe and all over the world. As a deploying entity, we will support large-scale digital cinema roll-out plans for up to 8,000 screens all over Europe within the next 5 years."

XDC teams up again with expert suppliers, Christie for the projectors, XpanD for the 3D Technology and for the 3rd year in a row, XDC has selected servers by Doremi alongside with its CineStore Solo G3 servers.
"This is a privilege for us to see our products play such a crucial role for this key event", says Pascal Gervais, Business Development Manager for Christie France. "As a pioneer in digital projection systems, Christie prides itself for putting its knowledge and experience to good use for the 7th art.

Maria Costeira, CEO of XpanD comments: "We are both honored and gratified to be officially chosen as the 3D system at the Cannes Film Festival and wish to extend our sincere thanks to the entire organization in supporting the XpanD brand of 3D technology" and adds "This will be a historical moment with a 3D title opening such an emblematic Festival and we're extremely proud to be part of this screening."

Patrick Zucchetta, Managing Director of Doremi Cinema declares "Doremi Cinema is pleased to provide its DCP-2000 D-Cinema server to play the world premiere in digital 3D of "UP" by Disney-Pixar during the opening evening."

"The French CST will again ensure the technical supervision of the projections performed during the Festival while our Digital Content Lab will offer "one-stop-shop" services to distributors including encoding, quality control and logistics," concludes Alain Rémond, General Manager of XDC France.


Installations to support the 100 digital screenings of the Cannes Film Festival

XDC has selected Christie as the exclusive Official Supplier of the digital projectors. Details are as follows:
Film Festival: 7 Christie 2K DLP Cinema® projectors will be installed in the following auditoriums: Lumière, Debussy, Bazin, Buñuel, 60th Auditorium and the Beach Cinema. One 2K digital control room will be installed in the Palais des Festivals in order to check the digital copies.
Film Market : 2 Christie 2K DLP Cinema® projectors will be installed in Bory auditorium (which will also be used for 3D projections) et auditorium J while 9 Christie HD DLP Standard projectors will equip the other HD video rooms.
D-Cinema JPEG2000 servers: CineStore® Solo G3 and Doremi DCP-2000.
3D systems: 4 systems will be provided by XpanD with active 3D glasses

Who'll pay for 3-D glasses?

http://login.vnuemedia.com/hr/content_display/news/e3if21dd856cfb9103ee116fb2f23d51f60

 

Exhibitors, studios squabble over who should foot the bill

By Carl DiOrio

May 12, 2009, 09:21 PM ET

More than a dozen 3-D films will hit multiplexes this year as a rollout of thousands of additional digital 3-D systems continues amid fervid public approval of the fledgling technology.

Now if they could only figure out how to pay for the 3-D glasses.

Complicated virtual-print-fee agreements are in place to fund the rollout of digital hardware, allowing exhibitors to add the 3-D systems. But until reusable 3-D glasses come into greater use or the $1-per-pair cost for disposables is cut substantially, squabbling will continue over millions of dollars in costs tied to the extra-dimensional eyewear.

With an installed base of fewer than 1,400 domestic 3-D screens, distribution has been sufficiently limited to keep costs of outfitting customers in the low- to mid-single-digits -- so far. The glasses expense is expected quickly to swell to $10 million or more per release, once 3-D movies start playing in 2,000 or more theaters.

Such outlays come on top of about $15 million per pic in extra production costs tied to 3-D, as well as multimillion-dollar VPF payments. Fox execs quietly spread the word a couple months ago they intended to rein in their payments on glasses, but details of a new arrangement have yet to emerge.

"There is no way any studio can continue to pick up the entire cost of glasses," said a top distribution exec at another studio. "There has to be some equitable way of figuring out how to work things out. One thing we might want to look at is using re-useable glasses."

Dolby is the chief proponent of re-useable glasses among 3-D operators, with the more prolific vendor RealD testing re-useables but for now sticking with disposable eyewear. At upward of $25 a pair, upfront costs are vastly greater with re-useables -- and generally fall to the exhibitor -- so there is no consensus on the matter.

"If you could get the cost of disposables down to, say, 35 cents or even 45 cents a pair, then it wouldn't be a big deal," another top distribution exec suggested.

Exhibitors suggest that distributors were quick to push theater operators to accept digital and 3-D projection and thus must accept certain related costs. One top industryite noted the cost of glasses is much lower than the $5,000-$15,000 per 3-D system exhibitors pay to install their hardware.

"Exhibitors have invested rather significantly in 3-D technology and have not asked the distributors to fund that," the theater circuit boss said. "The digital stuff, yes, but not the 3-D."

Studio execs stress that exhibitors are just as likely to benefit from 3-D as distributors.

Even 3-D vendors have been drawn into the fray, as a settlement is key to the successful bow of Disney's May 29 opener 'Up" and Fox's July 1-slotted "Ice Age: Dawn of the Dinosaurs." One possibility would be to come up with a stopgap arrangement to carry the industry through the summer, while continuing to hash out a more permanent arrangement with exhibitors and vendors.

"We all have to find a way to control the costs of 3-D, but everyone who can make money from it should also share in those costs," a top distribution exec said. "All of the majors are looking for the proper way to work with exhibition on this."

Certainly theatrical customers -- already paying an average $4 premium on 3-D movie tickets -- are unlikely to embrace an additional charge for glasses. But the theater operators aren't volunteering any near-term help to studios.

"We have not had any discussions at a formal level with Fox with regard to 3-D glasses," Carmike chairman David Passman said Tuesday. "I'm assuming the discussions with others pre-empted the need."

With 500 screens in operation, Carmike is the nation's biggest 3-D exhibitor.

Mused a distribution president with a resigned sigh: "Once you pay for something, you will always have that cost. That's just the way it is."

 

3-D accelerates as 'Up' opens Cannes

http://www.hollywoodreporter.com/hr/content_display/news/e3i322daa247a5902fce358eb4bf73e8a7f

 

Film's exposure at the fest could give 3-D an international push

 

By Gregg Kilday

May 12, 2009, 10:34 AM ET

CANNES -- As "Up" lifts off at the Palais des Festivals on Wednesday as the opening film of the 62nd Festival de Cannes -- and as the black-tie audience of cinema cognoscenti don their polarized lenses -- 3-D film will finally achieve what it has long sought: respect.

Even though digital 3-D movies no longer require those old analog glasses -- those infamous red/blue or red/green cardboard specs -- it's had a harder time shedding the image of '50s kitsch that has surrounded efforts to introduce dimensionality into the moviegoing experience.

But by choosing Pixar's latest movie, a lighter-than-air confection about a crabby old man who hitches his home to thousands of helium balloons and sails away in search of adventure, the granddaddy of film festivals is lending its imprimatur to the newest technological incarnation of 3-D.

"We are happy to have 3-D open Cannes as it is one of cinema's upcoming adventures," the festival's Thierry Fremaux proclaimed in unveiling the choice.

While the festival berth certainly confers prestige on 3-D film, even more importantly it could help accelerate what has been a painfully slow rollout around the world, just at that moment when such companies as DreamWorks Animation and Disney and A-list directors such as James Cameron and Robert Zemeckis are betting on 3-D as the cinema of the future.

The earliest 3-D film experiments may date back to the late 19th century, but over the years only a handful of auteurs ever tried to master the medium. Back in the '30s, Louis Lumiere remade his groundbreaking 1895 short film "L'Arrivee du Train" in 3-D. Canadian animator Norman McLaren turned out a couple of 3-D shorts in the early '50s. And no less a master than Alfred Hitchcock shot 1954's "Dial M for Murder" in 3-D, but with the '50s fad for 3-D already waning, it was widely released in 2-D.

For during the first flourishing of commercial 3-D cinema, the technique played more as a gimmick, intended to lure audiences, fascinated with their new televisions, back to theaters. Despite a few upscale exceptions like the musical "Kiss Me Kate," 3-D mostly attached itself to genre movies -- "House of Wax," "Creature From the Black Lagoon," "Cat-Women of the Moon" -- which only added to its downscale reputation.

It didn't help that an '80s 3-D revival was used largely to extend such aging franchises as "Jaws 3-D," "Friday the 13th Part 3" and "Amityville 3-D" via cheap thrills.

Four years ago, though, the new wave of 3-D began to gather momentum: In a sort of summit meeting of directing powerhouses, Cameron, Zemeckis, George Lucas, Robert Rodriguez and Randal Kleiser all gathered at the ShoWest convention in Las Vegas -- Peter Jackson was beamed in by satellite -- to proselytize for the new digital 3-D.

"It's not just the use of digital projection, which we all know is on the horizon," Jackson said. "But that the particular technology can be used to create three-dimensional movies that go far beyond the quality and the spectacle of anything we've ever seen before. Forget the old days of wearing the red and blue glasses and the eyestrain. All of that is behind us now. These new active glasses that you're wearing and seeing 3-D with are a breakthrough in technology."

Lucas promised to remaster his "Star Wars" movies for re-release in 3-D -- a promise on which he's yet to deliver. Zemeckis, who'd already released his 2004 film "The Polar Express" in IMAX 3-D, followed up with a 3-D version of 2007's "Beowulf" and will bring footage from his upcoming 3-D "A Christmas Carol" to the Croisette next week. Cameron, who is currently at work on the 3-D sci-fi extravaganza "Avatar," which Fox will release in December, flatly vowed, "I'm a man on a mission when it comes to 3-D. I will be making all of my films in 3-D in the future."

Even as the assembled directors viewed 3-D as a new, cutting-edge, filmmaking tool, U.S. studios saw the technology as a way to boost ticket prices and grosses. In 2007, DreamWorks Animation CEO Jeffrey Katzenberg said that, beginning with the March release of "Monsters vs. Aliens," DreamWorks would produce all its big-screen toons in 3-D. Disney and Pixar joined the bandwagon last year, announcing plans for eight new 3-D movies, including converted 3-D versions of "Toy Story" and "Toy Story 2."

 

94% of Feature Films Screened Using Christie Digital Projectors

http://www.christiedigital.com/AMEN/Corporate/MediaCenter/PressRelease/CannesFilmFestival2009OfficialSelection.htm

CYPRESS, CA – (May 7, 2009) – Christie is delighted to announce that as the technical D-Cinema partner to the Cannes Film Festival for the third year running, there is a huge increase in movies being screened using the digital format. Out of the 53 features showing at the 62nd Cannes Film Festival, the Official Selection for the Cannes Film Festival 2009 has revealed that at least 50 will be screened digitally compared to 20 screened digitally in 2007 and 37 in 2008.

Jack Kline, President and COO for Christie remarked: “We are pleased to see the progress of D-Cinema in the motion picture industry, as shown by the digital movies which are part of the Official Selection. And we’re delighted by the continued trust displayed by XDC, the Festival’s technical D-Cinema partner, and CST, the representative organization of cinema professionals in France responsible for the technical operation of Cannes. Both have opted for Christie as their technical partner supplying the digital projection solutions for the Festival for the third year running.”

Christie will provide over 19 projectors for the world’s leading film festival, including:

   For the Official Competition, seven Christie 2K DLP Cinema® projectors will be installed in the following auditoriums: Lumière, Debussy, Bazin, Buñuel, 60th Anniversary Theatre and the Beach Cinema.

   For the Film Market, three Christie 2K DLP Cinema projectors will be installed in Bory and Lerins2 auditoriums and auditorium J, while nine Christie high definition DLP® standard projectors will equip the other HD video rooms.

   Finally, one 2K digital control room will be installed in the Palais des Festivals in order to check the digital copies.

Kline continued: “As the most recognized film festival in the world, Cannes has a major cultural influence on the industry globally, reflecting the current technical, technological and commercial trends.  It’s a fact that the digital format and the number of theatres equipped for digital projection is progressing very rapidly.”

XDC will implement its Cinestore Solo G3 server in all the auditoria and will be collaborating with XpanD, an expert in 3D presentations, which will be given top billing this year at the world preview of “Up”, Pixar/Disney’s new animated comedy adventure, which will open this year’s Festival.

‘Up’ will be premiered using a Christie CP2000-SB projector with built-in Christie Brilliant3D™ innovative technology, which enhances brightness while reducing operating costs via a single lens system, which is ideal for 3D projections.  In addition to increased brightness compared to previous systems, this technology allows exhibitors to present 3D movies on their largest screens while reducing their lamp and power costs. The Christie CP2000-XB, CP2000-SB, CP2000-M and CP2000-ZX were amongst the first products equipped with the Brilliant3D technology.

About Christie

 

Who Does Regal Love More - RealD or Imax?

http://celluloidjunkie.com/2009/05/11/who-does-regal-love-more-reald-or-imax/?dsq=9237613#comment-9237613

 

Posted by Patrick von Sychowski | May 11, 2009 9:07 am

If the US exhibition industry was a comic strip, Regal Cinemas would be Archie and 3D rivals RealD and Imax would be Betty and Veronica. Things seem to be coming to a head between the three with the opening of Regal’s latest multiplex Thornton Place Stadium 14 & IMAX - to give it its full and proper name - and with a shot across the bows from Veronica, sorry, Imax about just how fabulously rich her offerings are.

First the details on the opening of the state-of-the-art Thornton:

Regal Thornton Place Stadium 14 will feature a new IMAX® theatre utilizing a specially-designed screen that is slightly curved and moved forward to immerse the audience. The IMAX Experience® is further enhanced by a crystal-clear digital surround sound system. Regal’s IMAX theatre will also offer IMAX 3D® when filmmakers choose to integrate 3D images into their movies. Future IMAX releases include: Transformers: Revenge of the Fallen (6/24) and Harry Potter and the Half-Blood Prince (7/15).

The new theatre is modern in every way, equipped with RealD® 3D to provide true-to-life 3D. RealD is a new generation of digital 3D, giving moviegoers a stunningly realistic movie experience that engages the imagination, activates the senses and invites the audience not only to watch a film, but also step inside the story. Upcoming Digital 3D movies include: Disney-Pixar’s Up (5/29), Ice Age: Dawn of the Dinosaurs (7/1) and Disney’s G-Force (7/24).

 ‘Immerse the audience’ and ’step inside the story’, OK, so Regal has both systems on the go. No major surprise there. But RealD and Imax do not see themselves as equals and do not just want to co-exist peacefully. This was made clear in an e-mail that went out from Imax today, headlined ‘Star Trek IMAX breaks record with $8.3 mil opening weekend in U.S.‘, which amounts to 11 per cent of the total box office (see Weekend BO story below).

Imax then goes on to quote from the Regal Cinemas public earnings conference call, where Regal’s CEO Mike Campbell, took a  question from an analyst on whether Veronica was cutest or Betty prettiest:

Matthew Harrigan  - Wunderlich Securities - Analyst

Good morning. Thanks for taking my question. Two questions. One, there’s a pretty profound asymmetry even if you adjust for the size of the auditoriums on the 3-D results for IMAX versus REAL D. Have you given any thought to re-balancing that or is it just more a matter of educating the consumer on REAL D? I heard there are some people actually think that some of the quality in 3-D with REAL D is better than with IMAX, but it doesn’t seem to have quite the marketing cachet.

Michael Campbell  - Regal Entertainment Group - Chairman and CEO

As far as the Real D versus the IMAX experience, IMAX is a powerful brand and it’s not just the visuals and the size of the screen. It’s a–it’s got the best sound system in the world according to most people. So we’re seeing that when we run REAL D versus 2-D, the Real D screens show a multiple of two to three times the attendance that you’re getting out of a 2-D screen while the IMAX will run five to six times. So we view this actually as a very viable market going forward, where IMAX remains at the top of the food chain. It’s long-established as a powerful brand, attaches a higher premium. Real D 3-D is somewhere between IMAX and 2-D. And we think that it gives the customer maximum flexibility in choosing. [emphasis added]

So Regal loves Imax twice as much as it loves RealD? Or at least its audience does. Imax want to have us believe that. Regal has 52 screens contracted with Imax, but has committed with RealD for 1,500 screens. So the date count seems to go in favour of Betty. Moreover, if you read the above quote early, what Regal is saying is that RealD lacks the brand awareness that Imax has been building up over several decades. But that could of course change.

But could it be that neither of the two will end up the real winner? Archie-ologist will remember that Issue #320 saw the introduction of Cheryl Blossom, a redhead from Pembroke, England, introduced to compete with Betty and Veronica for Archie. Who might 3D cinemas Cherry Blossom be? Why, none other than UK-born American-relocated Dolby Laboratories. With studios threatening to no longer pay for RealD’s disposable (now recyclable) eyewear, the Dolby3D system with its re-usable glasses (and high gain, instead of silver screen) is becoming more and more appealing.

Not that Regal is likely to break it off with RealD for its 1,500 dates and while Imax is likely to continue to occupy a high end niche, the race for the attention of the cinema is definitely heating up and getting interesting. We don’t expect a cat fight, but we are awaiting RealD’s retaliation keenly.

 

Cinedigm has been thrown a financial life line by its largest creditor

http://celluloidjunkie.com/2009/05/11/daily-cinema-roundup-monday-11-may-i-have-been-in-this-business-since-1972-and-i-have-never-seen-such-a-bad-time/

 

Digital Cinema integrator Cinedigm (formerly AccessIT) has been thrown a financial life line by its largest creditor GE Commercial Finance. From the press release, “The amendment significantly relaxes the financial covenant ratios that C/AIX is required to meet every quarter through the maturity of the loan in 2013. In addition, the new arrangement allows C/AIX to pay approximately $5 million in cash to its parent company, Cinedigm, as well as increase its ability to pay annual fees to Cinedigm. Reflecting the current market conditions, the amendment increases the interest rate on the credit facility from 4.5% to 6% above LIBOR and sets a LIBOR floor of 2.5%. C/AIX will pay a 0.5% amendment fee on the outstanding balance of $183.9 million.” The deal is a vote of confidence and saves Cinedigm and Christie/AIX, but staying afloat and surviving is not the same as expanding and thriving;

films screening at the Cannes Film Festival 50 will be screening in digital

http://celluloidjunkie.com/2009/05/11/daily-cinema-roundup-monday-11-may-i-have-been-in-this-business-since-1972-and-i-have-never-seen-such-a-bad-time/

 

Of the 53 films screening at the Cannes Film Festival 50 will be screening in digital, but the press release from Christie frustratingly doesn’t tell us which three won’t. Instead we learn that “20 [films] screened digitally in 2007 and 37 in 2008” and “Christie will provide over 19 projectors for the world’s leading film festival,” but they don’t name and shame the digital refuseniks. Is it famous film fanatic Quentin Tarantino? Or some obscure Chinese director who smuggled out a Super16mm documentary in a concealed can? We want names. So if you are involved, feel free to leak them to us anonymously in an e-mail or in the comments section. We know you want to

"Angels & Demons" Premieres in Rome - Film Screens in Sony Professional's CineAlta-4K Digital Projection System

http://www.dcinematoday.com/dc/pr.aspx?newsID=1437

 

Rome—May 4, 2009

 

At today’s World Premiere of Sony Pictures’ highly anticipated film Angels & Demons, the filmmakers, cast, and guests at the Parco della Musica auditorium in Rome saw the film with Sony Professional’s state-of-the-art CineAlta-4K digital projection system, which features four times the resolution of traditional Full-HD and 2K digital projectors.  The motion picture will be released in theatres worldwide on May 15, 2009. 

The team behind the global phenomenon The Da Vinci Code returns for the highly anticipated Angels & Demons, based upon the bestselling novel by Dan Brown. Tom Hanks reprises his role as Harvard symbologist Robert Langdon, who once again finds that forces with ancient roots are willing to stop at nothing, even murder, to advance their goals. Ron Howard returns to direct the film, which is produced by Brian Grazer, Ron Howard, and John Calley. The screenplay is by David Koepp and Akiva Goldsman.
 
What terrifying discovery would make the Vatican turn to Robert Langdon, the man who cracked history’s most controversial code?  When Langdon discovers evidence of the resurgence of an ancient secret brotherhood known as the Illuminati – the most powerful underground organization in history – he also faces a deadly threat to the existence of the secret organization's most despised enemy: the Catholic Church.  Upon learning that the clock is ticking on an unstoppable Illuminati time bomb, Langdon travels to Rome, where he joins forces with Vittoria Vetra, a beautiful and enigmatic Italian scientist. Embarking on a nonstop, action-packed hunt through sealed crypts, dangerous catacombs, deserted cathedrals, and even to the heart of the most secretive vault on earth, Langdon and Vetra will follow the 400-year-old Path of Illumination that marks the Vatican's only hope for survival.
 
Angels & Demons was projected on to a large screen at the Sala Sinopoli, one of three large concert halls at Parco della Musica. Used regularly for both symphonic and contemporary concerts, the prestigious Parco della Musica was chosen as the venue for the premiere because of its breathtaking architecture and outstanding acoustic qualities, located in the heart of Rome, where most of the motion picture is set.
 
As the world’s only manufacturer of 4K resolution digital cinema projectors, Sony Professional was selected by the studio to supply an end-to-end solution capable of providing viewers with a superior visual experience. The CineAlta-4K projection system used for the screening comprised of Sony Professional’s SRX-R220 Digital Cinema Projector, LMT-200 Media Block and LSM-100 Screen Management System software.
 
In addition to the premiere, Angels & Demons will also be released to theatres worldwide as a 4K Digital Cinema Package.
 
Oliver Pasch, head of digital cinema in Europe at Sony Professional says, “We’re delighted to have played a part in helping Sony Pictures  premiere Angels & Demons. The studio understands the phenomenal value of 4k projection and how it allows audiences from across the world to see more detail than ever before, thus creating a truly unique cinematic experience. We look forward to continuing our work with them in facilitating the motion picture industry’s global digital transition.”
 
Rory Bruer, President of Worldwide Distribution for Sony Pictures Worldwide Marketing & Distribution, added, “We couldn't have been more proud to show  Angels & Demons in 4K. The picture and sound quality is truly stunning and it showcases the superior capability of digital projection."

 

Cinemas 'Powerless' To Stop Film Pirates

http://news.sky.com/skynews/Home/Business/Cinemas-Are-Powerless-To-Stop-Film-Pirates-Boss-Of-Vue-Tells-Sky-News/Article/200905115275694

12:05am UK, Wednesday May 06, 2009

Matt Smith, Entertainment correspondent

Cinemas are having to let film pirates walk free because they are powerless to stop them, the boss of one of Britain's biggest cinema chains has said.

 

Piracy is still rife in the UK despite efforts to stop it

Tim Richards, who runs Vue cinemas, told Sky News that while his staff are getting better at catching film pirates, he invariably has to let them go.

He said: "We catch these individuals and we can't do anything with them. It's extremely frustrating.

"We can't even legally take the film out of their camera - we can't take their camera away from them.

"We call the police and the police aren't interested. So we ask (the pirates) to leave and they leave typically with their cameras and sometimes with their film intact."

The UK is the only major Western country that does not have a specific law making it illegal to use a camcorder in a cinema, he said.

Most people have seen the sort of DVDs that Mr Richards is trying to stop.

They are usually grainy, shot from the back row of a cinema, often with the sound of people shuffling around in their seats.

It is thought nine out of 10 pirate DVDs being sold on the street are filmed with camcorders pointing at a screen.

But a spokeswoman for the Metropolitan Police, which has a unit dedicated to film piracy, said the main problem faced in the UK is the trafficking and sale of illegal DVDs.

She said: "Nowadays the products are more likely to be ripped off somewhere digitally - we're seeing less pirate films made using camcorders in cinemas.

"The people that sell the DVDs are the main problem, profiting illegally from the sale and distribution."

The Met dedicates its resources primarily to cracking the organised crime rings that distribute and sell pirate DVDs, she said.

She also pointed out that if cinema staff could eject people trying to record films, they would not have a finished, marketable product.

And she questioned whether it would be appropriate to give employees the power to seize recording equipment.

"We have a duty to protect the cinema staff and giving them powers to seize equipment could put them at risk," she said.

But without tougher powers, there is little to deter pirates from trying to record films. Those who represent the industry say it is time the Government got tough.

Phil Clapp is the chief executive of the Cinema Exhibitors Association, which represents the majority of cinemas in the UK.

He said: "We would like just a very clear offence, a criminal offence, to record a film in a cinema theatre.

"This is not about catching a teenager who grabs a screen grab of a film on their mobile phone.

"What we're talking about here are highly professional organised criminals who are having a very detrimental effect on the UK film industry."

Camcorder recording in cinemas is already outlawed in the US and Canada, but in the UK ministers say new laws are not the answer.

They argue that instead cinemas should get tough using the relatively new Fraud Act.

Intellectual Property Minister David Lammy MP said: "What we have to do is use the existing legislation that we've got.

"And this is an issue of fraud. You buy a ticket, you go into a cinema to watch a film, not to illicitly record that film and seek to exploit it."

But for those in the cinema industry, that is simply not good enough.

They say Britain's anti-fraud laws are confusing and have yet to secure a single conviction.

 

SONY PROFESSIONAL ANNOUNCES FIRST EUROPEAN 3D DIGITAL CINEMA EXPERIENCE

Source: Sony

 

Visitors to Hollywood Multiplex screens in Romania are first in Europe to benefit from 3D on 4K cinema experience from Sony and RealD

 

Basingstoke, UK 7^th May 2009: Sony announced today that Hollywood Multiplex is the first European customer to adopt the recently introduced 3D on 4K digital cinema solution. The Romanian group has implemented 3D on 4K projectors at five screens, across three of its cinemas in Romania. Each of the screens uses Sony SRX-R220 digital cinema projectors with industry leading 3D technology from RealD, offering uncompromising picture performance and functionality – a landmark for the next generation cinema experience.

 

The first 3D film screened at Hollywood Multiplex cinemas in Romania was the Universal Pictures film “Coraline” which premiered this week on sold out screens.

Razvan Tone, CEO of Hollywood Multiplex, said: “Audience reaction to the premier of Coraline this week has been fantastic and fully justifies our decision to invest in Sony 3D and 4K digital cinema equipment. We have built an excellent relationship with the local Sony Professional team, and believe  we have selected the partner with the best understanding of how new technology is changing the cinematic experience we can offer people in Romania.”

Sony’s 4K SXRD® imaging device displays four times as many pixels as conventional 2K projectors for digital cinema. This allows full 2K resolution for the left and right eye simultaneously, without “triple-flash” artefacts, resulting in a high-luminance, full-resolution stereoscopic cinema presentation, designed to deliver the highest quality, most faithful reproduction of motion in 3D, which is easier on the eye of the audience.

The SRX-R220 cinema projector, is an ultra-high-resolution projector, designed specifically for digital cinema applications. The SXRD™ imaging devices used in the SRX-R220 projector make it possible to realise 4K resolution, through its 4096 H X 2160 V pixel matrix, which is stipulated by the Digital Cinema Initiatives, LLC (DCI).

 

Sony’s partnership with RealD provides cinemas with 3D digital cinema systems that combine a single Sony 4K projector and its new 3D dual lens adapter with RealD technology, including a specially designed optical filter tuned for the projector, resulting in the ability to deliver crisp 3D images to screens up to 15 metres in width.

 

Commenting on the announcement with Hollywood Multiplex, Attila Várai-Jeges, responsible for Sony Cinealta 4K D-Cinema in Eastern Europe, CIS and the Middle East, said: “Hollywood Multiplex’s decision to install Sony’s 4K digital cinema projection systems marks the group’s commitment to providing cinema-goers in Romania a new, more immersive experience. Digital cinema presents cinema groups like Hollywood Multiplex a new world in programming flexibility and opens up more efficient methods of getting the latest content to cinemas with minimal delay, regardless of geography. We believe our 4K technology is pivotal in enabling this shift to a digital platform.”

 

Sony is currently developing a complete line of digital 4K cinematography production equipment, including systems for 4K acquisition, storage and post-production. For more information on Sony’s 4K digital cinema products and solutions, visit www.sonybiz.net/4k.  

Ends

Notes to editors:

*Measured at the screen centre of a full pixel size (4096 x 2160) projection with 100 IRE white and a screen gain of 1.8. A ft-L (foot-lambert) is a unit of measurement for luminance. One foot-lambert equals 3.4262591 candelas per square meter.

 

IMAX Gives AMC 100 Digital 3D Projectors For Free

http://celluloidjunkie.com/2007/12/07/imax-gives-amc-100-digital-3d-projectors-for-free/

 

Posted by Patrick von Sychowski | December 7, 2007 3:41 am

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.