Thursday, December 10, 2009

CES to showcase S3D - Entertainment News, David Cohen, Media - Variety

http://today3d.blogspot.com/2009/12/ces-to-showcase-s3d-entertainment-news.html?utm_source=feedburner&utm_medium=email

 
For about a year, stereo 3D (S3D) for the home has been the 'next big thing,' though official standards have been slow to arrive and devices have been mostly at the demo stage. Fox's 'Avatar' is expected to be the 'dam-burster' (in Jeff Katzenberg's parlance) for live-action S3D pics and to further boost fan interest in S3D movies.Tokyo -- Bandai Channel, a toon specialty channel, plans to encode its pay toon content to protect copyright holders and foil freeloaders.

But home S3D devices are expected to be a major component of next month's Consumer Electronics Show, and at least one player in the S3D space isn't waiting until then to make a splash.

Xpand, the only current purveyor of active/shutter glass S3D for movie theaters, is making an aggressive move in hopes of becoming the de facto standard for home 3D, introducing technology that will make millions of existing computer monitors and laptop screens '3D-ready' overnight -- but only with Xpand glasses.

Company's active shutter glasses have electronics built in that cause each lens in turn to darken to solid black, then lighten again, many times a second, so the viewer only sees out of lens at a time (a.k.a. 'frame sequential'). The glasses pick up a signal from the projector to stay in sync with the screen. Imax 3D led the S3D revival in the 1990s with a similar active-glasses system.

Because there's tech in the glasses, active-glasses systems require less tech in the projector or screen -- and that is the key to Xpand's play for the home space.

Coming at CES is the announcement of 'DLP Link,' a new way of syncing active glasses with the screen. DLP Link will be built into all home-theater projectors with the Texas Instruments DLP chip. Xpand will support DLP Link with new glasses.

Moreover, DLP Link works on laptops and PCs with a small sync transmitter that plugs into a USB port. According to Xpand CEO Maria Costeira, the new system works with any existing laptop or personal computer 'with a decent graphics card.'

If it works as promised, the DLP Link/Xpand combo it can offer consumers a powerful value proposition: Turn your PC or laptop into an S3D display with glasses and a USB dongle. That would open the door for S3D streaming and provide a ready-made user base for S3D Blu-ray.

Xpand is also looking to make a statement in theaters. Arclight Hollywood is installing Xpand systems in the Cinerama Dome and several other screens in the complex. 'Avatar' will play in Xpand 3D when it opens there next week.

Move comes at the expense of the third major player in theatrical 3D, Dolby, which has been in several Arclight theaters.

RealD dominates the S3D market in North American cinemas but Xpand has much more market share in Europe and Asia. Its system was used at Cannes for the 'Up' preem earlier this year.

Xpand plans to compete with RealD in offering personalized 3D glasses. Xpand glasses will be modular and adaptable to children's sizes and different colored frames.

Some S3D televisions use polarized glasses compatible with RealD but converting existing TVs or monitors to work with passive glasses requires larger, more complicated add-ons than the DLP Link.

Some S3D experts prefer shutter-glass systems because they are the best at keeping the left and right-eye images separated. Others dislike them because, since frame-sequential viewing can worsen motion artifacts, a.k.a. 'strobing' or 'judder.'

Acer has already introduced an S3D enabled laptop, the Aspire 5738DG, but with no commercial S3D content available to play on it, its S3D features have met a sometimes skeptical reception.

The S3D laptop/monitor market may well take off faster than television. Much adult entertainment is already consumed on PCs, and porn has driven adoption of several generations of home entertainment tech.

Meanwhile, Xpand's competish is still making deals. RealD recently announced an agreement to equip up to 40 screens in the U.K.'s Apollo chain for S3D. Multi-year agreement covers all 13 Apollo locations.

***

The channel will shift to a pay service for its toons tomorrow (Dec. 10), while teaming with Adobe Systems to encode toons using Adobe's Flash Video Encoder software.

Launched in 2002 and currently a subsid to Bandai Namco Holdings, Bandai Channel programs TV, OVA ('original video animation') and feature toons, both new and classic, in a wide range of genres. Site users can stream content, but not download it. The channel can be seen on PCs, mobile devices and TV monitors via cable-and-satellite providers.

***

BITS & BYTES: S3D hasn't had a great repuation over the years; one stereoscopy leader told us recently it has long attracted 'eccentrics and charlatans.' But one more sign that is changing comes with the creation of a Center of Excellence in Stereoscopic 3D at Emily Carr University of Art + Design in Vancouver. The project is a parnership with Kerner Group, which -- as regular Techbytes readers know -- has been pushing hard to become a leader in the S3D space. ...Creature & monster shop MastersFX has opened a digital division, with Andre Bustanoby set as visual effects supervisor. Bustanoby is a vet of the digital division at Stan Winston Studio and Digital Domain. Among its many credits, MastersFX is thriving these days doing vampire f/x, including work for the latest 'Twilight' pic, 'True Blood' and 'The Vampire Diaries.' Company is based in Arleta, Calif. and has a Vancouver branch. ... Culver City-based vfx house Zoic Studios has launched a Design Division under the leadership of newly hired executive producer Miles Dinsmoor and creative director Derich Wittliff. Zoic already has the show opens of 'CSI' and 'The Tonight Show with Jay Leno' among its design credits. Zoic has been growing while much of California's post and vfx business has been in a slump. ... Along with S3D, performance-capture is likely to get a boost from 'Avatar.' Organic Motion recently announced a markerless motion-capture system for more than one person. They unveiled the system last month and are targeting the training and simulation market."

Wednesday, December 9, 2009

Imax plans expansion in Asia

http://www.hollywoodreporter.com/hr/content_display/asia/china/e3ibcf36932032fa8afa06155a62a7cf1fd

 

Exhibitor in talks with five Chinese companies

December 08, 2009

Reuters

HONG KONG -- Giant-screen movie operator Imax said Tuesday that it was in talks with at least five film companies in China as the company moves to cement its presence in Asia.

 

"The U.S. has 300 million people with 35,000 screens. China has 1.3 billion people and 4,000 screens. The opportunity speaks for itself," chairman and president of Filmed Entertainment Greg Foster said.

 

In June, Imax announced a film deal with Huayi Brothers, China's biggest studio, for Imax's first foreign-language film, "Aftershock," scheduled for release in 2010.

 

The Canadian company has 20 theaters in China, and Don Savant, senior vp and managing director, Asia Pacific, said that by 2013, Imax would have more than 30 theaters in commercial multiplexes in China.

He said demand in China remained robust for Imax theater tickets, which are typically 50% more expensive than average ticket prices for ordinary cinemas.

 

"In China they are willing to pay a 30%-100% premium," Savant said. He added that while Imax was expanding its presence in second- and third-tier cities, Shanghai and Beijing still offered large opportunities.

"There are big areas of the cities that are underserved. We could have six Imax locations in each city," he said.

 

Imax, known for digitally remastering Hollywood blockbusters, posted a third-quarter profit of $1.1 million compared with a loss of $2.1 million a year earlier.

 

Imax's profit for the whole of 2009 was expected to be $5.2 million, according to Reuters estimates, after it posted full-year losses for the previous two years.

Foster said Imax's Asian expansion would focus on China, but it was also looking for deals in Singapore, Indonesia and Malaysia.

 

Imax, which debuted its digital screen technology at the 1970 World Expo in Osaka, has joint venture agreements with Regal Cinemas, a subsidiary of Regal Entertainment Group and AMC Entertainment.

 

Headquartered in Toronto and New York, Imax's share price has soared 104% since the start of the year.

Monday, December 7, 2009

Barco and GDC unveil integrated media block for digital cinema at CineAsia

http://www.barco.com/digitalcinema/pressrelease/2441/

 

CineAsia Hongkong,

7 December 2009

Digital cinema pioneer Barco and digital cinema solution provider GDC Technology ("GDC") are proud to announce that GDC's Integrated media block ("IMB") can be seamlessly integrated into Barco's cinema projectors. Barco and GDC showcase this industry leading technology on the show floor at CineAsia, running from 8 until 10 December in Hong Kong.

In recent years, long-standing partners GDC and Barco have realized some 1000 digital conversions in China. As a further proof of the two companies' strong relations, the GDC IMB can now be fully integrated into Barco's digital cinema projectors.”

"We are very happy to continue our strong partnership with Barco, and to offer the digital cinema industry a total solution with an integrated media block" said Dr. Man-Nang CHONG, founder and CEO of GDC Technology. "The GDC media block has been designed to meet the DCI v1.2 Specification 'Media Block in Projector Configuration and supports 12-bit X'Y'Z' uncompressed playback for resolutions up to 4K. It further features lesser perimeter of security for content and keys compared to an external media server solution and requires less cabling between the media block and storage server."

Frank Christiaens, President of Barco for Greater China Region continues: "With the IMB integrated in a Barco projector, customers are sure of a compact, future-proof digital projection solution based on Texas Instruments' Enhanced DLP Cinema®technology. We truly value our long-standing partnership with GDC and the integration of the GDC media block into our projectors confirms our joint commitment to the Chinese marketplace."

 

Thursday, December 3, 2009

Report: 3D films biz growth will be gradual

http://today3d.blogspot.com/2009/12/report-3d-films-biz-growth-will-be_01.html?utm_source=feedburner&utm_medium=email

 

Barring dramatic over-achievement by Jim Cameron's 'Avatar' or other high-profile 3D pics, only slow growth is likely through 2014 in the number of 3D film productions because of lingering budgetary and creative concerns.

That's among key findings in a PricewaterhouseCoopers report on the future of 3D in Hollywood. The financial consultancy also said that most 3D live-action production will be limited to sci-fi, horror and concert genres, and 3D-animated slates at Disney and DreamWorks will be closely scrutinized by rivals.

'The commitment of most U.S. majors will depend on the future success of these films and is expected to remain marginal compared with their film slate,' report co-authors Matthieu Aubusson and Vincent Teulade wrote.

Overall, 3D releases will represent 10%-15% of annual film output, the firm estimates. Cinema conversions to digital projection are 'expected to be strong among the multiplex and large urban theaters and more limited among the small theaters,' the report said.

Among the report's findings in other areas of 3D entertainment:

-- 3D TV content 'will be mainly driven by 3D video content, 3D console games and 3D TV programs,' with 3D TV programming limited mostly to telecasts of sporting and musical events.

-- The rollout of 3D computer games will outpace those for gaming consoles.

-- The development of 3D mobile phones is likely to remain 'marginal' in most markets, with such devices finding limited embrace so far even in tech-fervid Japan."

 

ChristieR Selected as Exclusive Digital Cinema Provider For Movie Palace's New, All-Digital Multiplex in Wyoming Christie Projectors a "Flawless Performer"

http://www.dcinematoday.com/dc/PR.aspx?newsID=1609

 

CYPRESS, CA—Dec 2, 2009

Christie®, the world leader in digital cinema projection, was selected by Movie Palace, Inc., as the exclusive digital cinema provider for its new all-digital Studio City Stadium 10, a 10-screen classic multiplex theatre in Casper, Wyoming. It is the second Movie Palace theatre in Casper to use Christie digital projectors.  The company has also installed the Christie CP2000 series projectors – the world’s most popular digital cinema projector – in its other locations in Cheyenne and Rock Springs, Wyoming.
 
“We chose Christie based on three key criteria: reliability, brightness and customer service.  Since we built our reputation on presenting high quality images on the screen and providing the best service in the community, we depend on the flawless performance and customer care that Christie products and their staff provide us,” remarked Randy Pryde, president of Movie Palace.
 
Pryde noted that Movie Palace plans to equip all their locations with Christie DLP Cinema® projectors.  “Offering the brightest and most reliable products in the industry, Christie greatly enhances our customers’ movie viewing experience,” he observed.
 
According to Pryde, Movie Palace conducted extensive research on the older, classic theatres, and then merged the glamour and architecture of these legendary movie theatres with the ultimate in digital projection technology and state-of-the-art sound systems. 
 
Andrew Houck, the manager of the new Studio City Stadium 10, noted: “We installed six Christie CP2000-ZX projectors, three Christie CP2000-M projectors and one Christie CP2000-SB projector in our multiplex because they not only project stunning images on the screen, they also deliver the most cost-effective digital solutions in the industry.  As well, Christie continues to set the standards for 3D, in both resolution and brightness. We anticipate that we will be utilizing these digital projectors in the future for concerts, sporting events and corporate activities.”
 
CLACO Equipment and Services, Inc., one of the region’s leading cinema dealers, was responsible for the installation.  According to Vince Butler, digital technician and installations manager at CLACO, Christie’s strong reputation for superior service before and after the sale and the lowest cost of ownership were important factors in their decision to install Christie projectors.
 
“In addition to its world-class customer support, Christie equipment is both top notch and among the most reliable in the industry, making our job much easier,” said Butler.  “Movie Palace has had excellent experience in the past using other Christie equipment, such as Christie consoles, automations and 35mm lamp houses, and have found them extremely reliable.  Digital cinema is the next frontier, and we look forward to working with Christie to deliver the most visually exciting movie presentations in the industry. ”

 

RealD and Apollo Cinemas Enter Exclusive Agreement 40 RealD 3D-Equipped Screens to be Installed Across U.K.'s Largest Indie Chain

LONDON—Dec 1, 2009

 

http://www.dcinematoday.com/dc/pr.aspx?newsID=1608

 

RealD, the worldwide and European leader in 3D cinema, and the U.K.’s largest independent theatre chain, Apollo Cinemas, announced today an exclusive multi-year partnership to equip all 13 Apollo Cinemas locations with RealD 3D technology. The agreement accounts for up to 40 RealD 3D installations, which are already in progress.

“We think there is an appreciative audience hungry for a first class 3D cinema experience and we think RealD is best placed to help us offer this to our customers,” stated Rob Arthur, managing director, Apollo Cinemas. 
 
“This agreement builds on RealD’s market-leading position in Europe and dominant role as the preferred 3D provider in the U.K.,” stated Bob Mayson, managing director of RealD Europe Ltd.  “We’re pleased to partner with Apollo Cinemas, bringing their audience the RealD 3D experience in time for the holiday’s line-up of blockbuster titles.

Real D’s new generation of 3D technology is deployed across the world’s largest 3D platform with over 9,000 screens under contract and over 4,500 screens installed in 48 countries with over 300 exhibition partners.  RealD is the leading 3D provider for theatres globally and in Europe, North America, Latin America and Australia.

 

Deluxe Selects MasterImage MI‐2100 for Hollywood 3D Digital Cinema QC Screening Room

http://www.dcinematoday.com/dc/pr.aspx?newsID=1607

 

Burbank, CA —Nov 30, 2009

 

MasterImage 3D, LLC, makers of one of the fastest growing 3D systems in the world, is proud to announce that Deluxe Digital Cinema, a subsidiary of Deluxe Entertainment Services Group, has selected their premiere 3D imaging solution, MI2100, for use in their 3D post production facility and screening room. The system will be used for quality control and final approval purposes during all phases of MasterImage 3D content production.

The MI-2100 is simple to install and maintain, and can be used with any DLP projection system. The triple flash MI
2100 system does not require "ghostbusting" to deliver a fully immersive stereoscopic viewing experience.

"Deluxe is a leading digital cinema service provider and Deluxe's selection of the MI-2100 demonstrates expanding acceptance of MasterImage technology in theaters and the creative community," said Peter Koplik, Executive Vice President Sales and Marketing at MasterImage 3D, LLC. "The MasterImage solution streamlines production and delivers the clearest and most realistic 3D image available with a single projector set-up."

"Deluxe Digital Cinema is working on more stereoscopic content than ever." said Jim Whittlesey, Deluxe's VP of Digital Cinema Technologies, "Because Deluxe is committed to providing our clientele with the best possible imaging technology during every step of the production process, the MI
2100 was the next logical 3D system to install in our screening room. The image quality is impressive. "

 

Thursday, November 26, 2009

Digital heads east: China, India and Korea lead the conversion race

http://www.filmjournal.com/filmjournal/content_display/news-and-features/features/technology/e3ie595ec28836e2d88906590c40d364f28

 

http://www.filmjournal.com/filmjournal/content_display/news-and-features/features/technology/e3ie595ec28836e2d88906590c40d364f28

Nov 24, 2009

-By Bill Mead, Digital Cinema Editor

Following the lead of the U.S. and European markets, in 2009 digital conversions in much of Asia continue to inch forward, propelled largely on a screen-by-screen basis as justified for specific 3D titles. Broad-based 2D conversions are being held back by their expense, coupled with the weak economy. The exception is China, where the government-supported conversion program continues. In addition, India, Korea and Japan have active conversion programs in progress or being planned.

In China, projector manufacturer Barco announced in mid-2009 that it had completed its 1,000th digital-cinema projector installation. With an early start, Barco claims a market share of more than 80% of the equipped screens. Barco has been working closely since March 2007 with Singapore-based server manufacturer GDC Technology. GDC has secured virtual print fee (VPF) agreements with five studios (Sony Pictures, Disney, Fox, Universal and Paramount) and expects these agreements will accelerate the conversion of up to 6,000 cinemas across Asia.

Barco announced in 2006 a major commitment with Dadi Digital Cinemas. Recently, major deals with Chinese exhibitors like Jinyi Zhujiang Movie Circuit Co., Hengdian Entertainment Co., Ltd. and the China Film Group were announced for another 200 systems.

“With the largest number of installations, which is way ahead of its nearest competitor, GDC and Barco are the undisputed leading digital-cinema solution providers in China,” said Mr. Xu Tianfu, general manager of Hengdian. “We have great faith in GDC and Barco’s vast experience and proven track record, and it is the clear choice for our deployment program.”

Christie’s digital-cinema expansion in China has gathered momentum since 2008, largely as a result of their projectors being used during the Olympic Games. Christie is enjoying digital-cinema growth of more than 400% in the Asia/Pacific region. To date, more than 600 sites in the region have installed Christie digital-cinema projectors, with an additional 500 sites scheduled for conversion by the end of this year.

Working with Beijing Time Antaeus Media Tech. Co., Ltd., Christie provided 120 Christie CP2000-ZX projectors. After the games, these projectors were installed in Time Antaeus’ theatres across China as part of the country’s film-to-digital conversion. With plans to install 800 projectors in select cinemas by the end of 2010, these projectors will be installed with Time Antaeus’ own DCI-capable Montage CDCS2000 servers, jointly developed with Doremi Cinema. The Montage CDCS2000 includes a Theatre Management System (TMS) to allow remote content programming and management and can be remotely monitored by a network operations center.

According to Christie, the pilot test of the 120 projectors has proved to be a tremendous success. Since starting operations, they have experienced “zero” failure rates, offering users a high level of stability. The systems are installed with 3D systems from Dolby 3D, MasterImage, RealD and XpanD. In addition, China’s renowned Shanghai Film Group Corporation and Lianzhong have also selected Christie exclusively for their respective nationwide digital-cinema rollout plans.

Also in China, NEC has been rapidly expanding its Asian cinema business with a commitment from the China Film Group to purchase 160 of its NC1600 digital projectors. The agreement follows an initial 100-projector order that was completed during the spring of 2009. USA-based Ballantyne Strong, Inc. announced that its Strong Westrex China subsidiary has been selected to provide and install the 160 NEC projectors in locations across China. Strong Westrex China expects to ship and install up to half the systems in 2009, with initial shipments anticipated as early as Q3, and expects to ship and install the remaining projectors in 2010.

In India, Scrabble Entertainment Pvt. Ltd. was formed in November 2007 with the vision to provide a 2K DCI-grade release platform to Indian and Hollywood studios. As India’s leading deployment entity, Scrabble has the goal of converting around 200 screens annually until every multiplex in the country is equipped. The company has already contracted with India’s leading exhibitors, producers and distributors, and under a VPF business model, Scrabble plans to finance India’s transition to digital by collecting a negotiated fee from distributors and producers. In this capacity, Scrabble will act as the intermediary between the major studios and distributors and India’s vast number of cinema chains and independent exhibitors.

Scrabble announced its Hollywood alliance in March 2009, and has signed nonexclusive agreements with all the major studios which include Twentieth Century Fox, Warner Bros., Walt Disney Studios and Paramount Pictures, Universal Pictures and Sony Pictures. The presence of digital screens will make it easier for film fans in India to enjoy more movies in 3D, which is fast becoming a popular medium. Scrabble is also looking to showcase alternative content and digital advertising.

Ranjit Thakur, CEO of Scrabble Entertainment declares, "We are in process of changing the way movies are shown in India. Going 2K digital is a revolutionary change for the exhibitors in India and the patrons love the experience.”

Thakur believes that the digital release will help both Indian and Hollywood distributors maximize their revenues by providing a much wider day-and-date release and flexibility in show placement at a reasonable cost. The digital transition will also help Hollywood studios release more 3D titles and will also help reduce the effects of piracy from the Indian entertainment sector, which according to the U.S.-India Business Council brings an estimated loss of four billions U.S. dollars per year.

Hollywood contributes less than 10% of the Indian box office, but the percentage is expected to increase in the future. Industry experts feel that there is potential for Hollywood films to rise to over 20% of the Indian market, and certainly going digital with more day-and-date releases is one of the ways for them to get there.



Currently, all the multiplexes in the eight top cities of India collect over 75% of the total Indian box-office collection. By virtue of DCI and JPEG2000 technology, the theatres are happily adapting to the solution that Scrabble offers. Scrabble is pleased with the success they have achieved in a short span of one year.

Christie continues its close collaboration with Scrabble as the preferred projector vendor. So far, Christie has delivered over 200 projectors for Scrabble’s deployment. Christie projectors are now installed in theaters owned by PVR Cinemas, Fame Cinemas, INOX and Fun Theatres across the country.

XpanD, the leader in active-glasses technology, has also entered a strategic partnership with Scrabble targeting a rollout of 100 XpanD 3D screens beginning this November.

Thakur believes that 3D will catch on with Indian audiences depending on the merit of the content. Also, Scrabble is working with Bollywood production houses to create regional and Indian 3D titles.

Scrabble plans to install at least 200 systems each year, so by the end of 2010 there should be 400 screens spread across 40 different sites, each with at least one or two 3D screens. The sites with digital installations have been identified with plenty of marketing materials, so that audiences are aware of the quality differences between them and their analog competitors. Digital has been well-received by the Indian patrons and they recognize the difference in quality. Theatre management also loves the flexibility of shows which the digital platforms provide.

South Korea is in a tight race to become the first fully digitized country in the world. South Korea-based D-Cinema Korea Co. Ltd (DCK), the joint-venture company established in 2008 by CJ CGV and Lotte Cinema, has also announced its own VPF deals with Paramount, Fox and Universal that will launch the deployment of up to 2,000 Korean screens. For the initial deployments, DCK has selected Christie CP2000 series projectors and Qube XP-D servers. It is expected that almost 400 of Korea’s screens will be digital by the beginning of 2010.

Japan has more than 200 DCI-capable systems installed, primarily as a result of the recent flow of 3D titles. Broad conversion plans are being considered by various companies where there is interest in securing VPF studio support that should move things along faster.

Most of the progress in Japan is being driven by one company, T-Joy Ltd., an entertainment organization specializing in the operation of multiple chains as well as the financing and development of digital content. Founded in August 2000 in a partnership with the Toei Company, T-Joy launched as Japan's first multiple digital-cinema complex in Hiroshima.  According to T-Joy’s CEO Naoshi Yoda, T-Joy has taken an early lead in Japanese digital cinema and introduced an innovative theatre environment and new dimension of choice to the moviegoers. “We call the next generation in the movie industry an ‘entertainment complex’ and focus on promoting digital cinemas, improvement of digital film technologies and expanding the new and existing digital content.”

Aside from its main operation as standard multiple theatres, T-Joy provides its audiences with various alternative content, such as football matches, extreme sports, musicals, rock concerts, TV programs and many other forms of both real-time and pre-recorded events via digital data-transmission systems.

T-Joy currently owns 119 screens at 13 sites, of which 43 screens are currently equipped with DCI-grade digital projectors. Fourteen of these are equipped with 3D. With two new multiplexes opening in Yokohama and Kyoto, T-Joy will operate a total of 68 digital screens by spring 2010. For the future, T-Joy is planning only fully digital sites, with at least two 3D screens per site. T-Joy has also signed agreements with Sony to add screens featuring Sony’s 4K projectors beginning next July. T-Joy through their subsidiary company, Laterna Co., has also made a joint venture with Korea’s CJ Entertainment for future investments and the distribution of Korean digital titles in the Japanese market.

The rest of Asia, specifically, Thailand, Taiwan, Singapore and the Philippines, is deploying digital equipment as needed to take advantage of the increased 3D revenues. In these cases, most exhibitors are self-funding their own conversions or working in conjunction with one of the vendors or deployment entities that have secured studio-approved VPF plans.

Down Under, exhibitors in Australia and New Zealand have installed enough 3D systems to support the current Hollywood 3D movie slate and key exhibitors, specifically Hoyts, Greater Union, Village Roadshow and Reading, are finalizing their own VPF plans. It is expected that over 300 digital systems will be in place by the beginning of 2010, with a full rollout beginning mid-2010.

 

Reel Cinemas to Get Digital and Satellite with Arts Alliance Media UK Screens Sign Up to AAM's Virtual Print Fee Digital Rollout

http://www.dcinematoday.com/dc/PR.aspx?newsID=1605

 

London, UK—Nov 17, 2009

Arts Alliance Media (AAM) – Europe’s leading provider of digital cinema technology, content and deployment – today announced they have signed an agreement with Reel Cinemas to digitise Reel’s entire circuit in the UK. The Virtual Print Fee (VPF) based deal covers all 60 of Reel’s screens throughout the country, across 15 sites, as well as 60 affiliated screens programmed by Reel's programmer, Steve Reynolds.

The installation of digital equipment is scheduled to begin immediately. In addition the deal also covers the installation of 3D in 20 screens, meaning there will be at least one 3D screen in each site, to take advantage of next year’s slate of around 15 3D releases.

Arts Alliance Media will also be providing satellite systems for each of Reel’s 15 sites, in conjunction with satellite partner Arqiva Satellite & Media. This will allow the cinemas to show live alternative content, such as opera, sports and music concerts, and also to receive feature and trailer content via satellite. AAM’s Digital Cinema Network Software will also be deployed, allowing sites to efficiently manage their digital content and equipment, and for AAM to monitor and maintain the network and equipment remotely.

Howard Kiedaisch, CEO of Arts Alliance Media, said of the deal “We’re delighted to announce this deal with Reel Cinemas. The decision to go digital and 3D means that their sites will be able to offer all the benefits of digital to their patrons across the UK. The addition of another cinema chain to AAM’s rollout is a great vote of confidence as the European conversion to digital really begins to build momentum.”

Reel Cinemas’ Managing Director, KC Suri, added “Reel Cinemas is very happy to be entering into association with Arts Alliance Media, and we’re looking forward to this next stage in our ambitious expansion plans. We’re committed to giving all our customers the ultimate cinema experience, and so to be able to now offer them cutting edge digital, satellite and 3D is great for us, and great for the communities we’re based in.”

Reel Cinemas is one of the UK’s fastest growing cinema chains, focussed on creating cinemas geared towards a local community audience, with town centre sites and the latest technology and targeted programming for customers.

Arts Alliance Media’s digital network currently covers 6 European territories and has installed over 650 digital screens to date.

 

Arts Alliance to digitize U.K.'s Reel Cinemas

http://www.filmjournal.com/filmjournal/content_display/news-and-features/news/cinemas/e3idaa6fa5c7cf9caac0d10753fa6fff0ba

 

Nov 19, 2009

Arts Alliance Media (AAM) signed an agreement with Reel Cinemas to digitize their entire circuit in the U.K. The Virtual Print Fee-based deal covers all 60 of Reel’s screens throughout the country, across 15 sites, as well as 60 affiliated screens programmed by Reel's programmer, Steve Reynolds.

The installation of digital equipment is scheduled to begin immediately. In addition, the deal also covers the installation of 3D in 20 screens, so that there will be at least one 3D screen in each site.

Arts Alliance Media will also be providing satellite systems for each of Reel’s 15 sites, in conjunction with satellite partner Arqiva Satellite & Media. This will allow the cinemas to show live alternative content such as opera, sports and music concerts, and also to receive feature and trailer content via satellite. AAM’s Digital Cinema Network Software will also be deployed, allowing sites to manage their digital content and equipment, and AAM to monitor and maintain the network and equipment remotely.

Arts Alliance Media’s digital network currently covers six European territories and has installed over 650 digital screens to date.

 

Cinemark, Imax Sue over XD

http://www.digitalcinemareport.com/Cinemark-Imax-lawsuits-XD-theatres

Submitted by Nick Dager on Fri, 11/20/2009 - 12:16.

·         Feature Stories

By James Hyder

Cinemark USA and Imax Corporation have filed lawsuits against each other over Cinemark's XD digital theaters. Cinemark, the third largest theater chain in the U.S., filed a suit on November 4 seeking to invalidate two patents Imax holds on "Conversion of a Cinema Theater to a Super Cinema Theater." Imax countered on November 12 with a complaint that alleges fraud, breach of contract, misappropriation of trade secrets, and tortious interference, and seeks an injunction to prevent Cinemark from "producing, using, and selling its XD system."



Cinemark's case, filed in the U.S. District Court for the Eastern District of Texas, was sparked by an October 26 telephone conversation and subsequent e-mail exchange between Rob Lister and Mike Cavalier, general counsels for Imax and Cinemark respectively, on the subject of Cinemark's new premium digital theaters.

Barely a week after Cinemark's case was filed Imax initiated its own action in the Supreme Court of the State of New York, county of New York. Imax's suit does not allege patent infringement, but calls Cinemark "an inveterate tortfeasor and a faithless contract party," and claims that the exhibitor used its relationship with Imax to "create an unauthorized reproduction of the trademarked Imax Experience." It alleges that Cinemark approached Hollywood studios to promote its XD theaters, "referring disparagingly to Imax as, among other things, the 'middleman' that needs to be 'eliminated.'" 



Imax also claims that in 2008 Cinemark asked for a list of possible locations for additional Imax theaters and was given a list of twelve such sites. Imax states that it "held back from leasing Imax theaters in certain of those markets to other customers," only to find that this year Cinemark has made plans to install XD theaters "at eight of the very locations identified by Imax."

In addition to the injunction against further XD theaters, Imax seeks punitive and compensatory damages "in an amount to be determined at trial."



Last April Cinemark launched a premium digital cinema brand, known as XD (formerly XD3), featuring theaters with screens up to 38 by 70 feet (12 by 21 meters), custom JBL sound systems, and high-output 3D-capable Barco digital cinema projectors. The chain has opened ten XD houses to date, with four more to be rolled out by the end of the year and as many as 100 expected over the next few years.

As is the case at most multiplex Imax theaters, Cinemark charges a three-dollar premium for XD over its standard ticket price. Unlike Imax, the XD system allows the exhibitor to show virtually any movie it chooses, not only those that Imax Corp. has converted with its DMR process. And of course, Cinemark keeps its full share of the box office receipts, unlike Imax's joint-venture theater partners.



Eric Wold, an analyst for Merriman Curhan Ford who has long followed Imax, thought Cinemark XD posed enough potential competition to Imax that he downgraded Imax shares from buy to neutral on September 18.

The two Imax patents at issue are both entitled "Conversion of a Cinema Theater to a Super Cinema Theater." The first, US 7,106,411, was issued on September 12, 2006, and the second, US 7,595,860, was issued on September 29, 2009. The first claims methods for enlarging and moving a theater's projection screen and improving the "fidelity" of the projected image over the previous system. The second specifies enhancements to the theater sound system. For more details on the first patent, see What is 'Immersive'?.

The basic requirements for a U.S. patent are 1) that the invention not have been in public use or publicly described at the time of invention or for more than one year before the application was submitted (the novelty condition), 2) that it not be obvious to "a person having ordinary skill in the art" in question (non-obviousness), and 3) that the description of it in the patent application be precise enough to enable it to be made and used by anyone skilled in the art (specification). Cinemark's complaint alleges that the Imax patents fail on all of these conditions.

Alleged patent infringers can ask the U.S. Patent and Trademark Office to re-examine patents and declare them invalid. Alternatively, a civil suit that is decided in favor of the alleged infringer has the effect of invalidating the patent in question. In both situations the patent holder can appeal, and usually does. As the middle of November, Cinemark had not filed for re-examination of Imax's patents.



The Eastern District of Texas, where Cinemark is located, and where it filed its suit, is a favored venue (a "rocket docket") for patent infringement cases because judges there have shown a preference for them and because its juries tend to make large awards, according to Sean J. O'Hara, an attorney at Snell & Wilmer in Phoenix, Arizona.

Imax's filing complains that the district is "a forum in which the parties had agreed not to litigate," adding that its claims are based on "common law causes of action…and arise from Agreements that contain New York State choice of law and forum selection provisions."



The vast majority of infringement suits — 85 percent or more — are settled out of court in less than a year. Cases that go to court are more time consuming and expensive. In a 2007 study, Paul Janicke of the University of Houston Law Center found that the median cost for cases involving more than $25 million was $4.5 million for each party. With annual revenues of $1.8 billion, Cinemark would appear much more capable of bearing legal expenses than Imax, whose annual gross revenue has averaged $135 million over the past ten years.



James Hyder is the editor and publisher of the LF Examiner. This article was first published in the November 2009 issue of LF Examiner. (C) 2009 by Cinergetics, LLC. All rights reserved. The article is used by permission.

 

Hollywood Theatres to Install Sony 4K Digital Cinema Systems

http://www.digitalcinemareport.com/Hollywood-Theatres-Sony-4K-digital-cinema-systems

Submitted by Nick Dager on Fri, 11/20/2009 - 12:20.

·         Distribution & Exhibition

Hollywood Theaters is installing Sony Electronics' 4K digital cinema technology across its circuit. The Portland, Oregon-based exhibitor will begin its digital conversion by equipping 13 of its U.S. locations (167 screens) with Sony projectors over the next few months.

The 4K roll out will also include 53 screens outfitted for 3D digital projection, combining Sony's single-projector 3D lens system with RealD 3D technology, enabling the exhibitor to deliver the highest-quality 2D and 3D digital projection.

Sony's Digital Cinema Solutions and Services group will work with Hollywood Theaters on the integration, installation, maintenance and service support for its 4K conversion.

"Sony's 4K technology gives our patrons the opportunity to view motion pictures as never before, combining the highest levels of resolution, contrast and image quality to produce precise, life-like images in vibrant colors," says Hollywood Theaters chief operating officer Clyde Cornell. "We are also excited to be a part of Sony's DCSS alternative content program and plan to fully exploit their broad range of media and entertainment divisions such as sports, music, and gaming to bring fresh, innovative entertainment options to the big screen and create new streams of ancillary revenues for Hollywood Theaters."

"Our 4K technology gives Hollywood Theaters the most reliable and flexible foundation for ultimately converting its entire operations to digital projection technology," says Sony Electronics' Digital Cinema Solutions and Services group senior vice president Mike Fidler. "It elevates the cinematic experience for their consumers, offering movie-goers a much more dynamic, engaging and immersive entertainment experience. The opportunity for alternative content not only presents potential new business; it also allows them to provide exciting additional programming that perfectly complements their current offerings."

 

Kinepolis Group Choose SmartJog Servers

http://www.digitalcinemareport.com/Kinepolis-SmartJog

Submitted by Nick Dager on Fri, 11/20/2009 - 12:42.

·         Distribution & Exhibition

European exhibitor Kinepolis Group has selected SmartJog's Digital Cinema Central Library Servers to use in all of its 23 theaters.  Kinepolis will purchase and install the Digital Cinema Central Library Servers, which are capable of storing large amount of content as well as receiving Digital Cinema Packages (DCPs) via satellite and fiber.

"Kinepolis has been using the SmartJoj system a few years now to receive advertising content from Médiavision, well as cinema trailers which are digitally sent via the SmartJog network to our Cinemas in France," says Bob Claeys, research and development director for Kinepolis Group.  "Since we are actively rolling-out digital equipment in all of our Cinemas in France, Belgium and Spain, it was essential for us to find a solution capable of scalability in terms of storage and digital delivery."

Claeys says, "Therefore, we have opted for the SmartJog "all-in-one" solution of high-end storage and digital delivery solution. Since it's already compatible with the equipment in our cinemas such as our Dolby servers, the SmartJog Central Library allows us to store content received in our multiplexes without the need to add multiple reception and storage equipment. The flexibility of the SmartJog solution also lets us manage the delivery of our own promotional content to all of our cinemas in Europe seamlessly."

By the beginning of 2010, all of Kinepolis Group Cinemas will be equipped with the SmartJog 12 or 8 terabyte Central Library servers and will benefit from SmartJog's fully managed digital delivery service. With this announcement, SmartJog is proud to announce that it has now connected 537 screens in Europe.

Kinepolis
http://corporate.kinepolis.com/
SmartJog
www.smartjog.com

 

Wednesday, November 25, 2009

Some theaters trapped in 2nd dimension by credit freeze

http://www.usatoday.com/tech/news/2009-11-20-3D20_ST_N.htm

 

 

November 20, 2009

By David Lieberman, USA TODAY

 

Hollywood executives likely will credit director James Cameron if his megabudget sci-fi film Avatar strikes gold for Fox next month.

 

But there's a ready scapegoat if it disappoints: When the credit markets froze more than a year ago, banks and other lenders didn't invest in the digital-projection technology needed to show films in 3-D. That was a setback for Avatar, which was designed to showcase 3-D's artistic potential.

 

TELL US: Do the movie theatres in your area offer 3D technology?

 

The film should appear in 3-D domestically on nearly 3,500 screens, Fox distribution chief Bruce Snyder guesses. "They're still putting (3-D systems) in as we speak," he says.

But Cameron hoped for 5,000 screens two years ago. The movie will also run in conventional 2-D.

 

The shortfall means that "people may have to wait until the second or third week to see it (in 3-D) at a theater near them or ...drive a little further," says Bud Mayo, CEO of digital cinema services firm Cinedigm.

 

All eyes will be on Avatar's ticket sales. It will show whether "there's something for 3-D beyond animation and PG films," says SNL Kagan analyst Wade Holden.

 

Studios and exhibitors bickered for years about who should pay for digital projectors that cost as much as $100,000 per screen, Mayo says. It takes as much as $40,000 more for tweaks and software to handle 3-D.

 

That could add up to tens of millions of dollars to equip large theater chains. "Not many theater operators have that much dry powder," says GE Capital Vice President Michael Rhea.

 

Studios agreed to pay the bulk of the costs: They could save $1 billion a year by distributing movies on small hard drives instead of large reels of celluloid. Distributors pay a fee for each digital film.

 

The cash goes to lenders who buy digital projectors and lease them to theaters.

 

But when the credit markets froze, lending for digital cinema slowed to "a trickle," Mayo says.

 

Digital Cinema Implementation Partners – a studio and theater-backed consortium – is struggling to raise $525 million to bring digital projection to about 15,000 screens.

 

"They keep telling us it's expected to happen any day," Snyder says. DCIP did not return calls for comment.

 

But Cinedigm just raised $100 million from GE Capital and Société Générale for 2,100 digital systems.

 

If that continues, ticket sales will be "more in line with what studios anticipated when they put (3-D) films into production," says Imax CEO Richard Gelfond.

Monday, November 23, 2009

Katzenberg sees 3-D movie revolution in scalable chips | Entertainment | Industry | Reuters

http://today3d.blogspot.com/2009/11/katzenberg-sees-3-d-movie-revolution-in.html?utm_source=feedburner&utm_medium=email

 

Animated 3-D movies will soon be made cheaper, faster and more vividly with a new generation of computer chips that can crunch huge amounts of data faster than ever, DreamWorks Animation SKG Chief Executive Jeffrey Katzenberg said this week.

Katzenberg, one of the first studio chiefs to embrace 3-D animation in films like 'Monsters vs Aliens', told Intel Capital's CEO Summit in Huntington Beach, California that he is even more excited about the creative potential of this 'scalable multi-core processing'.

'Ten years from now I think this will be a tipping point for how we view entertainment and how entertainment views the world,' he said of the chips, which are still in development.

Katzenberg gave attendees at the conference sneak peeks at footage from DreamWorks Animation's upcoming 3-D films 'How to Train Your Dragon' and 'Shrek Forever After'.

He also screened eye-popping sports footage on 3-D-enabled television that he predicted would be in 30 percent of US households by 2013, with early adoption spurred by sports and video games.

Limited processing power for 3-D films has forced animators to work in an assembly line-type fashion, with characters' faces, bodies, clothing and fur or hair animated by a different artist. Each film requires four years and 400 artists to make, Katzenberg said at a presentation.

BACK TO PENCIL AND PAPER

The new chips will allow artists to return to performing their craft as expressively as they did in the days of pencil and paper, Katzenberg said. 'We can envision a day when animators will be able to work on their characters at full resolution and not in pieces.'

He did not comment on whether the new technology would result in job cuts. 'We really don't know yet what the impact on cost and workforce will be,' he said.

Intel Corp has been improving its multi-core chips, and Katzenberg's vision could be fulfilled within the next few years.

Essentially, each core handles two 'threads' at a time, meaning it can handle two tasks. Intel has been multiplying the number of cores in a single chip -- the 'scalable' of his description -- increasing the number of tasks an individual chip can perform.

That increases the speed and lowers the cost of computing the repetitive tasks that form a large part of animation.

Other companies have taken their own approaches to visual imaging, including Nvidia Corp and ATI, a division of Advanced Micro Devices.

Experts say this inevitably will lead to more power for individual users, making it possible for independent film makers to play a larger role in a field that until now has required legions of workers to add special effects and animation."

 

3D Remains a Gimmick

http://www.tvtechnology.com/article/90356

11.13.2009

NEW YORK:
If the trend of 3D movie releases is any indication, 3D will not be a huge game changer. That’s the assessment of Pali Research’s Rich Greenfield.

“While we did not intend to be the ‘3D Scrooge,’ we are increasingly skeptical that 3D will fundamentally alter the exhibition industry,” Greenfield wrote in his blog at Pali. “In most cases, 3D still appears to be a gimmick to get consumers to a theater to see a particular movie. Unfortunately, similar to 2D movies, most movies are only fair at best--story still matters far more than technology.”

On top of the movies being lousy, people are having to pay, on average, a $3 premium for 3D movies.

“We simply wonder if the 3D premiums are truly sustainable, if the level of content does not improve notably,” he wrote.

Greenfield said Disney’s 3D version of “A Christmas Carol,” release over the weekend, brought in just $30 million at the box office, “well below the levels most expected,” but more than the studio’s previous 3D release, “Bolt,” which did $26 million on opening weekend. Disney’s “GForce,” also offered in 3D, did $32 million during its summer opening weekend.

“While it may be too early to deem ‘Christmas Carol’ a write-down,” as was Disney’s 2002’s “Treasure Planet,” ...we believe the weak Sunday box office is not a good omen, on top of weak reviews and box office that would have been in the low-mid $20 million range if not for the premium pricing of 3D,” Greenfield said. “With yet another senior executive shake-up at Disney’s studio [Mark Zoradi stepped down as president of Walt Disney Motion Pictures Group this week], we would not be surprised to see a write-down that lowers Disney’s fiscal 2009 earnings, but which helps fiscal 2010 growth.”

Greenfield acknowledged that Fox intends to raise the bar for 3D content with next month’s release of “Avatar,” directed by James Cameron.

How 3D movie releases impact the format on TV remains to be seen. So far, most U.S. 3DTV fare has involved special simulcasts of sporting events to properly equipped theaters. ESPN most recently transmitted the USC-Ohio State Sept. 12 game live in 3D to a theater on the University of Southern California campus.

BSkyB successfully transmitted 3D content across its HD infrastructure earlier this year and plans a full-fledged launch for next year. Mexico’s Televisa recently broadcast its first soccer match in 3D.

 

Kodak Digital Cinema Undergoes Major Strategy Shift

http://celluloidjunkie.com/2009/11/20/kodak-digital-cinema-undergoes-major-strategy-shift/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+celluloidjunkie+%28celluloidjunkie.com%29

 

Posted by J. Sperling Reich | November 20, 2009 10:53 pm

For the past several weeks there have been whisperings in conversations throughout the motion picture exhibition industry about organizational changes at Kodak Digital Cinema. To put an end to the conflicting reports that were coming my way I did the most simple of things; picked up the phone and spoke with someone directly at Kodak. Strange, I know, given that this business has gotten us all so used to playing our cards close to the vest, but sometimes a direct approach actually works.

Indeed, Kodak Digital Cinema is dramatically changing the focus of its business. Bob Gibbons, Director of Marketing and Communications for Kodak Digital Cinema lived up to his title by being very upfront in explaining the company’s new strategy. “We’re going to really concentrate on areas that build more directly on our unique capabilities of service and intellectual property licensing,” said Gibbons. “We’re going to discontinue all development and manufacturing of our preshow advertising systems, our Kodak screen management servers, our Kodak theatre management systems and what I refer to as our role as a feature systems integrator, putting the packages together and marketing the packages.”

Acting as a systems integrator has been the most visible part of Kodak’s digital cinema business up until now. Moving forward, Kodak Digital Cinema will instead develop and license digital cinema technologies to be commercialized by others while continuing to provide services and support for existing systems. Though Kodak may not be manufacturing preshow video players any longer, they will continue to prepare and distribute preshow content and playslists.

Gibbons puts the number of Kodak digital cinema servers out in the field at around 300 and he was firm in reiterating that the company would absolutely continue to provide service and support for their equipment. However, he stated, “If you are thinking of working with Kodak as an integrator and having us put a package together for you, well we’re not going to do that anymore so you’ll have to move on and work with somebody else.”

Other aspects of the business that will continue is Kodak’s network operations center which monitors the health of digital cinema equipment on a round the clock basis. Kodak’s diagnosis most of the problems that occur with installed equipment remotely from their NOC. They are often able to fix the problem without sending technicians. As for any intellectual property the company may be working on for digital cinema, Gibbons said, “Kodak has a long history in imaging and different aspects of picture quality. We have somewhere around 500 patents in the digital area alone and so we’re going to continue to develop some of that and so far as people want to license that and put it in their products we’d be happy to talk with them.”

According to Gibbons, Kodak has no plans to sell any assets developed by Kodak Digital Cinema that may no longer be called for due to their new strategy. This includes their proprietary secure media server and theatre management system. Though never say never, because if you gave Kodak a call and were interested in licensing the intellectual property Kodak built for its servers, “we sure would be interested in talking to you,” he said. “I don’t want to say we’re not doing that, but at this point we are not doing it.”

Of course, whenever a company like Kodak shifts its business strategy there are bound to be a few casualties when it comes to personnel. Since Kodak is such a large company some of the engineers may well end up in other assignments. Same goes for those working in sales. But in the end there will be some layoffs, however small. “We’re not talking about a gigantic operation here,” said Gibbons. “When we get all done with the number of people who will be let go because of jobs being eliminated it will be in the dozens. A couple dozen. It won’t be more than that.”

Speaking about the news with exhibitors who had been working with Kodak as system integrators, the reactions ranged from disappointed to bitterly angry. Some theater owners had been with Kodak for years, while others had only recently signed on. All of them seemed to question digital cinema’s current business model given that both Kodak and Technicolor have gotten out of the systems integration business over the past year.

On a side note, all references to Kodak Digital Cinema have been removed from Kodak’s corporate website.