Cinema

IPAF to Promote Value of Copyright

Phil Sandberg — Mon, 10 Aug 2009 03:54:34 +0000

As part of its on-going war on piracy, the Australian-based Intellectual Property Awareness Foundation (IPAF) is to launch a campaign promoting the value of copyright in film and television.
“At a time when accessing digital content for free has never been so easy, we’re encouraging Australians to support local business and go to the cinema, buy a genuine DVD, and choose to purchase a title from legitimate online alternatives,” said Maureen Barron, Inaugural Chair of IPAF.
IPAF serves to promote the value of the film and television industry by raising awareness and appreciation of intellectual property and its value in society. It is supported by suburban cinemas, local DVD retail and rental stores, distributors, post-production companies, Australian filmmakers, film and television agencies including the Australian Federation Against Copyright Theft [AFACT], and the Motion Picture Association [MPA].
Creative agency Droga5 has been tasked with the challenge of creating a campaign for IPAF to motivate Australia’s youth to do the right thing when it comes to film & TV piracy.
“This brief requires a fresh approach from an industry that’s sometimes jaded by briefs like this,” said Barron. There’s no doubt that this is a big challenge, but it’s one we believe is achievable given the creative ability, the unconventional approach and the commitment that Droga5 offers this demanding brief. Many agencies are still grappling with using media in non-traditional ways, whereas Droga5 seems to understand this transition innately, and we’re excited about what we might be able to achieve together.”
In 2005, the Australian film industry lost a reported AUD$230 million in potential revenue, or 11% of the total market, as a result of piracy, while US$18.2 million is lost annually to piracy worldwide.
“The value of Intellectual Property is an issue as alive in our own industry as film and television’s, so this is a brief close to our hearts,” says David Nobay, Creative Chairman at Droga5.
Visit www.ipawareness.com.au and www.droga5.com.au

Kodak Developing 4K Media Block

Phil Sandberg — Mon, 10 Aug 2009 03:36:07 +0000

Kodak has announced that the company is developing a 4K Media Block for its digital cinema solution. The 4K Media Block will be commercially available worldwide as 4K systems become widely deployed.
“This is a next logical step for Kodak,” said Gary Einhaus, general manager of Kodak Digital Cinema. “We played an active role on the industry committees that recommended that all movies be scanned at 4K, even though virtually all are played back at 2K today. In the future, we believe that 4K systems will be another customer choice, appropriate especially for larger screens or special venues. We want to make sure exhibitors can choose Kodak systems for all of their applications.”
Einhaus emphasises that Kodak continues to invest in a broad range of technologies that will deliver a full solution to its customers. That solution currently includes the Kodak screen management server, theater management system, and network operating center. Since the company’s demonstration of the first 2K digital cinema projector in 2001, Kodak continues to do research and development in projection technology.
“With today’s Kodak system, we offer a seamless presentation where everything – pre-show, snipes, trailers, and the feature movie – can all be automatically received, migrated, scheduled, staged and played back through the same projector with consistent quality and reliability,” Einhaus said. “Frame rates, color space, even image sizing are all made consistent; lighting, masking, even audio levels can also be controlled automatically. All that is available from Kodak now.”
However, Einhaus also is quick to point out that image quality involves much more than whether the resolution of the projection system is 2K or 4K.
“Color, uniformity, contrast, bit-depth, aspect ratio, magnification, even the ‘bleed’ from one pixel to neighboring ones – all are important,” Einhaus says. “It’s misleading to correlate overall image quality with a single metric such as resolution.”
Einhaus also emphasises, that even when dealing with the attribute of resolution, the number of pixels in the projection system is not necessarily a good predictor of what people in the theater may actually see.
“The visual acuity of movie-goers and their distance from the screen; auditorium lighting, screen size and reflectivity; projection brightness and image uniformity; the quality and resolving power of the lens; and even cleanliness of the port glass are important,” said Einhaus. “And that’s true, whether there is a 2K projector or 4K projector in the booth.”
Visit www.kodak.com/go/dcinema

Kodak Showcases Networked Digital Cinema Solution

Phil Sandberg — Mon, 10 Aug 2009 03:31:38 +0000

Kodak Cinema World (KCW), has installed a fully automated and networked Digital Cinema Solution in its Shanghai joint-venture multiplex. All four screens are equipped with Christie 2K digital cinema projectors and Kodak Screen Manager Servers controlled by the Kodak Theatre Management System (TMS).
Located in the heart of the bustling commercial and residential district of XuJaHui, Kodak Cinema World is a premium 4-screen, modern multiplex with state-of-the-art facilities. Demonstrating the potential efficiencies and presentation advantages of digital projection, this new digital technology will also entertain the audiences in new and exciting ways. Taking advantage of the popularity of 3D movies, KCW has also
installed the first RealD 3D Cinema System in China, with plans to upgrade other screens in the near future.
Kodak digital systems can be connected – networked – not only to communicate with other systems in the multiplex but also to control the 35mm film projectors. This allows workflows to be changed in ways that make cinema operations more efficient, content handling more automated, and the whole cinema presentation more seamless. At the heart of this fully-integrated solution is the Kodak Theatre
Management System (TMS).
“Our content management becomes more efficient with the Kodak TMS. We’re no longer required to inject content and keys to each individual screen server. In one go, we are able to do the injection through the central TMS server and the content and keys will be migrated to each individual screen server as instructed,” said Mary Min, General Manager, Kodak Cinema World. “It also allows us to operate in an automated mode, as all components are networked together and function according to the pre-set film schedules.”
“As the number of digital screens in multiplex facilities grow, cinema operators will need to consider the advantages that the total management of content offers,” said Edman Chan, Director, Sales and Market Development Digital Cinema, GCC, ASEAN and Korean Markets. “The Kodak TMS provides the industry with a perfect solution. It handles both 2D and 3D content with the capability to recognize and play JPEG or MPEG compression automatically.”
Kodak Digital Cinema Systems have been installed in 17 countries, with 42 exhibition chains on more than 250 screens in more than 140 sites. Nearly half of those installations are playing digital 3D movies on a regular basis.
Visit www.kodak.com/go/dcinema

Cinedigm Enters Phase 2 with Emagine

Phil Sandberg — Mon, 10 Aug 2009 03:27:39 +0000

Cinedigm Digital Cinema Corp. (NASDAQ: CIDM) (formerly AccessIT), has announced that Emagine Entertainment, Inc. (”Emagine”), a Michigan-based cinema chain, will participate in Cinedigm’s Phase 2 digital cinema deployment program and will be the first exhibitor to do so through self-financing. Emagine is one of Cinedigm’s first Phase 1 deployment program exhibitor partners and has been utilising their networked digital cinema systems since late 2005.
In Phase 2, Cinedigm will provide networked digital cinema systems, including Christie DLP Cinema projectors, to the ten screens at Emagine’s new Woodhaven, Michigan location. Christie Managed Services will be providing the long-term service agreement for this theatre. Under this new agreement, Emagine will become a senior lender to Cinedigm’s Phase 2 deployment subsidiary. Cinedigm’s subsidiary will make regular payments to Emagine based on an agreed-upon schedule similar to those of other long-term lenders.
“We’ve had great success with Cinedigm’s digital cinema systems. Their technology has enabled us to bring unique, cutting-edge programming to our customers. Events like the live 3-D showings of the BCS and NBA games help set Emagine apart from competitors and is the reason we want to expand our relationship with Cinedigm to our new location,” said Paul Glantz, founder of Emagine. “We’re pleased that Cinedigm has worked with us to create this self-financing option which enables us to invest further in a business that is revolutionizing the movie-going experience.”
“Emagine is breaking new ground with us, creating an innovative financing template for Cinedigm’s rollout. This trend of self-funding by theatre owners is important given the ongoing growth of the theatre industry and the current lack of financing from traditional channels. We are confident that with the help of partners like Emagine, our Phase 2 deployment will continue to progress as planned,” said Bud Mayo, chairman and CEO of Cinedigm.
“Cinedigm is pleased that our first exhibitor from our Phase 1 deployment has engaged us for Phase 2. We have valued our relationship with Emagine over the years and look forward to adding their new location to the growing number of screens contracted to our Phase 2 program for up to 10,000 digital cinema projection systems,” said Chuck Goldwater, president of Cinedigm’s Media Services Group.
Cinedigm has contracted for and completed the rollout of nearly 4000 systems in forty-one US states with exhibitors including Atlas Theatres, Allen Theatres, Carmike Cinemas, Celebration! Cinema, Cinema West, Cinetopia, Dickinson Theatres, Emagine, Galaxy Cinema, Marquee Cinemas, Krikorian Premiere Theatres, MJR Theatres, Neighborhood Cinema Group, Premiere Cinema Corp., Rave Motion Picture Theatres, Showplace Cinemas, UltraStar, and Cinedigm’s own Pavilion Digital Showcase Theatre.
Its Phase 2 plan for up to an additional 10,000 screens will provide networked, turnkey Digital Cinema systems in conformance with DCI specifications.
Visit www.Cinedigm.com

Portuguese Boost for Barco

Phil Sandberg — Mon, 10 Aug 2009 03:22:23 +0000

Barco has been chosen by ZON Lusomundo, the largest cinema chain in Portugal, for the deployment of 213 digital cinema systems. By the end of 2010, 28 of ZON Lusomundo’s cinema complexes will be equipped with Barco digital cinema projectors.
XDC, a leading digital cinema service company in Europe, and ZON Lusomundo have signed an exclusive agreement for the deployment of 213 full digital cinema systems in ZON Lusomundo’s theatres in Portugal. Under the terms of the agreement, XDC will exclusively install Barco’s DCI-compliant 2K digital projectors in combination with their CineStore Solo G3 D-Cinema server and a fully integrated and networked solution in each complex.
“We are very proud that Barco’s digital cinema projectors have been chosen to bring digital cinema to Portugal,” comments Alain Solomon, vice president digital cinema division. “This confirms again the outstanding quality of our digital cinema projectors and services. As more cinemas will be going digital in the future, we look forward to contributing even more to the digital cinema evolution across Europe.”
Serge Plasch, Chief Executive Officer XDC says, “We are pleased to be able to work with Barco for this deployment deal. We have a longstanding business partner history with Barco and are familiar with their digital cinema projectors. We know that Barco delivers the reliability and the service we are looking for to provide to our exhibitors.“
Luis Roboredo Mota Managing Director of ZON Lusomundo cinemas states, “We will be among the most innovative cinema operators in the world. With Barco’s digital cinema projectors, not only will we be offering our spectators even better picture quality, we will also be able to extend our programming to alternative content at all of our theatres with more recorded and live 3D shows, live satellite events such as opera, concerts, and sports. In addition, going digital will allow us to become a more efficient company, lowering our operating costs whilst at the same time generating significant improvements in customer service.”
With the DP series, Barco has developed a modular digital cinema projector platform offering a cost effective solution at everyone’s desire and for every screen size. To support its rapidly growing digital cinema installed base, Barco has launched a Certified Service Partner program to establish a worldwide support network.
Visit www.xdcinema.com, www.zon.pt and www.barco.com

Singapore’s Cathay Goes Mobile with Tickets

Phil Sandberg — Mon, 10 Aug 2009 03:18:47 +0000

As digital technology evolves continuously, the movie-going experience with Singapore’s Cathay Cineplexes is also fast catching up, with tech-savvy movie-goers now professing their love for movies right at their fingertips.
Marrying the movie-going experience with the digital New Media platform, mobile ticketing is the newest craze for movie-lovers who enjoy an on-the-go lifestyle and the convenience and mobility of accessing movie schedules, selecting cinema seats, and buying movie tickets on their mobile phones just about anytime and anywhere in Singapore.
A recent exclusive tie-up between Cathay Cineplexes and telecommunications company SingTel allows for all SingTel users to book and purchase Cathay Cineplex movie tickets by simply downloading an application – the SingTel Box Office - for free onto their mobile phones, including the iPhone. No data charges apply for this service if the connection is accessed via the SingTel IDEAS (WAP).
Last year, Cathay Cineplexes had partnered Starhub in offering its subscribers access to Cathay Cineplexes’ online ticketing website via the Starhub Gee! portal and purchase movie tickets through their mobile phones. Cathay Cineplexes is also collaborating with mNETS, another Singapore telco, to offer mobile ticketing services to patrons. Come September 2009, a quick and straight-forward download of the mNETS application onto the mobile phone offers users the option of selecting their preferred choice of movies and purchasing movie tickets.
Suhaimi Rafdi, Chief Executive Officer of Cathay Organisation, said, “Like the digital technology scene in Singapore, the entertainment and leisure industry here is ever-changing and dynamic. Cathay Cineplexes makes continuous and conscious efforts in keeping up with the trends of New Media, and we are confident that the various mobile ticketing platforms we offer complete the movie-going experience, especially for our tech-savvy patrons.”
www.cathay.com.sg

Alternative Content in a Rack

Phil Sandberg — Mon, 10 Aug 2009 03:15:19 +0000

Gefen has released what it says is an All-In-One Rack Mounted Solution to enable alternative content in the Digital Cinema Market which includes an HD Switcher and Scaler with Dolby 7.1 Audio.
The solution provides a simple way to add pre-show advertising and all alternative content including consumer audio/video sources such as DVDs, PS3s, Blu-ray players and computers to theatre presentations. Gefen’s new AV Cinema Scaler Pro I and II both interface with all digital cinema projectors and integrate with digital cinema audio systems.
They are suitable for theatres looking to expand revenue by renting theatres for birthday parties, games, presentations and high profile TV events that draw nation-wide interest.
The Gefen AV Cinema Scaler Pro I and II both enable HDMI, DVI, VGA and component video inputs and both digital and analog audio inputs to be output in scalable DVI-I format with 7.1 analog audio. Both deliver 7.1 Dolby digital and Dolby pro logic audio that provides high quality sound.
The difference between the two products is their audio support using the DB-25 7.1 AES delivering either analogue or digital formats. On both products, the video is output in DVI-I format with cinema quality image scaling accessed and controlled by the LCD display or front-panel selectors. RS-232 control allows for simple automation and control. Audio delay, black barring, audio isolation transformers and advanced mode scaling combine to make these scalers top quality performers.
In many cases, this audio capability will allow the theatre operator to replace other audio processors that had traditionally been required. The units can either process the audio or they will act as a “pass through.” Both units also offer audio delay to ensure complete lip sync capability.
Video can be up and down scaled in high definition resolutions to 2K OR 1080p full HD. With full HDCP-compliance, both rack mountable scalers enable compatibility and performance with today’s protected content. However, non-HDCP compliant projectors can use the component video input to bypass this functionality and still perform at cinema quality levels.
Visit www.gefen.com or www.ambertech.com.au

Acheron Studio Loudspeaker

Phil Sandberg — Mon, 10 Aug 2009 03:02:52 +0000

Meyer Sound has announced the newest member of its Cinema Experience line, the Acheron Studio, which brings the low distortion and transparency of the Acheron 80 screen channel loudspeaker to a smaller package. Designed for use behind a perforated screen or for direct monitoring, the THX-approved Acheron Studio is suitable for small cinemas, post-production, and private theatres. Soundtracks monitored on the Acheron Studio translate accurately into larger cinema systems, making the loudspeaker an equally ideal fit for re-recording rooms, sound design rooms, and music studio control rooms.
The Acheron Studio boasts a maximum peak level of 134 dB SPL at one meter. Designed to help maintain a full LCR screen perspective in all seats, the Acheron Studio uses the same horn technology (patent pending) developed for the Acheron 80, and has an extremely well behaved 80-degree horizontal by 50-degree vertical coverage pattern with a soft off-axis roll-off.
The horn in the Acheron Studio is fixed within the enclosure to ensure an accurate acoustic crossover, phase response, and an incredibly consistent vertical pattern between the low and high frequencies. Bass power comes from a new 15-inch low-frequency driver optimized for the compact enclosure. The 580 Hz crossover point places most of the dialog in the horn, making it an ideal choice for cinema applications. The self-powered Acheron Studio features a convection-cooled amplifier with an impressive signal-to-noise ratio of more than 100 dB to provide the extremely low noise floor. In addition, it is a plug-and-play system and allows for easy setup and installation.
Visit www.meyersound.com/cinema or call Meyer Sound Australia on 1800 463937 in Australia, or 0800 363937 in NZ.

RealD Small-Scale 3D Solution

Phil Sandberg — Mon, 10 Aug 2009 02:56:32 +0000

RealD has introduced 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.
Visit www.RealD.com

Barco Hits 1000 in China

Phil Sandberg — Mon, 10 Aug 2009 02:53:18 +0000

Barco recently chalked up its 1000th digital cinema projector installation in China putting the company in a position where it now has a market share in that country of more than 80%.
Ever since the beginning of digital cinema in China, Barco has been working closely together with GDC Technology to provide one-stop digital cinema solutions to exhibitors. Since the announcement of the partnership in March 2007, both companies have worked on a number of successful deals and will continue to do so in the future. Only recently, major deals with prime exhibitors like Jinyi, Hengdian and the China Film Group were announced for a total of more than 200 digital cinema projectors.
“China is one of the fastest growing cinema markets in the world and Barco is proud to be part of its transition to digital,” comments Frank Christiaens, Barco’s President Greater China. “Barco has a long term commitment towards the digital cinema market and has made severe efforts towards the China market. We very much value our existing partnerships and our customers’ confidence in Barco digital cinema projectors.”
“China has always been at the forefront in digital innovation. Already in 2006, Barco signed a historic deal with Dadi Digital Cinemas and we have a market share of more than 80% in China”, says Alain Solomon, VP of Barco’s Digital Cinema business. “Our Chinese customers especially value our reliability and low total cost of ownership, resulting from the modular design and use of standard lamps in our projector design.”
Barco’s digital cinema projectors are based on the pioneering DLP Cinema technology from Texas Instruments, guaranteeing perfect reproduction of cinema content time and time again, ensuring moviegoers enjoy the highest quality film experience with consistent picture brightness, contrast and vibrant colours.
Visit www.barco.com