MANICE - le blog techno

Live from Local Bijou: Sports, Games, More

Olivier Amato — Thu, 13 Mar 2008 12:00:00 +0000

"For some exhibitors, it is live events -- not feature films -- that has them most excited about 3-D.

"Our goal is live," Tim Richards, CEO of U.K.-based Vue Cinemas, said Wednesday at ShoWest during a panel session that explored alternative content. Talking about his experience with 2-D live content, including sporting events, concerts and operas, he added, "Our guests will pay a premium -- in some cases 30%-100% more -- for these screenings."

Tom Stephenson, president and CEO of Dallas-based Rave Motion Pictures, believes there needs to be a 3-D component to showing live events.

"I personally think the future of putting a 2-D image on the screen is not the growth part of this business," he said. "If it is transformed (into 3-D), I believe this business gets a lot better. They are very close to being able to do that, and that will open up many doors."

Said Ellis Jacob, president and CEO of Canada's Cineplex Entertainment: "This business would grow dramatically if the studios get into the business, and I think they will. With those organizations you have some of the largest marketing machines in the world. I think when they embrace alternative content ... because they own a lot of those channels, you are going to see a huge change in 3-D sports entertainment and alternative events. ... (Today) we are just scratching the surface."

Current issues related to screening live events include production costs and rights.

As to technical costs, Richards said that once the infrastructure is installed, "satellite cost is probably the biggest single cost. The good news (is that this business is in its infancy and) there are no set rules. ... A number of the (concert) acts take a pragmatic approach and think of this as a marketing activity. We have everything from no change to a charge (for rights)."

Scale also is a consideration. "In some cases, the producer or event coordinators are not interested in the small amount of money a circuit can generate," Stephenson said. "Unless it is done on a much larger scale, it becomes difficult."

Looking ahead, Richards suggested that the "biggest untapped potential" in alternative content is video games. He pointed out that games are not time sensitive, therefore they would not need to interfere with prime theatergoing hours -- a concern voiced by some exhibitors."

By Carolyn Giardina, The Hollywood Reporter

3-D Driving Euro D-Cinema Shift

Olivier Amato — Thu, 13 Mar 2008 11:27:00 +0000

"What is driving digital cinema in Europe?

"The first is 3-D, the second is 3-D, and curiously enough the third is 3-D," said David Monks, president of the European Digital Cinema Forum, during a session Monday at ShoWest. "3-D is just so hot, it is a bit frightening."

Next year is being viewed as a benchmark in terms of digital 3-D installations, but there still are critical D-Cinema transitional challenges that remain.

"We want to get on with it," said Monk, speaking of the D-Cinema transition in Europe, which is challenging because of the large number of countries and cultures. "We think by not doing so, we are missing a big opportunity. ... It has been a very frustrating for most people because they have really wanted to move."

One lingering concern, he said, is that exhibition needs a competitive choice of funding plans.

"There have to be funding options," he said. "Nobody feels comfortable with a single supplier, and the single suppliers are just as anxious to get more competition into the market because they know their case will be strongest."

He also noted that anxieties remain over annual technical costs. "I appeal to (stakeholders) to think about costs when you put a tweak in the (technical) spec that has an upward cost implication. We should be intolerant of anything that compromises security, but we have to be much more creative in other areas."

Monk also warned: "There is natural reaction in Europe to say, 'Perhaps we need our own standard.' That's getting an incredibly large amount of intellectual thought but no credibility whatsoever in the exhibition space. ... Of course, it is nonsense; we are about at the end of that now. But it pops up every time there is a struggle that seems to be 'those nasty people in Hollywood.' "

Monk emphasized that the community needs to factor in small chains and large volumes of local content when looking at business models for Europe.

Charlotte Jones, an analyst at Screen Digest, said it would soon be clear if a virtual print fee can be the encompassing model for all European countries.

Jones reported that there were 6,440 d-cinema screens installed worldwide at the end of 2007, of which about 890 were in Europe. "3-D is a major incentive," she said of Europe's D-Cinema transition, though she admitted that the transition is somewhat stalled at the moment. Jones reported that about 24% of Europe's screens were 3-D-ready. There, the U.K. has the largest number of installations with 48, or 15% of its screens."

By Carolyn Giardina, The Hollywood Reporter

New Christie CP2000-M DLP Cinema Projector is World's Best "Lightweight Contender"

Olivier Amato — Thu, 13 Mar 2008 10:12:00 +0000

Christie, a global leader in Digital Cinema, introduces the most compact and lightest DLP Cinema projector in the world, the Christie CP2000-M. The latest addition to the celebrated Christie CP2000 series, it weighs in at a remarkable 95 pounds, yet delivers up to 12,000 ANSI lumens of output power, the most in its class. Ideal for screens 35 feet wide (10 meters), it is opening up a whole new universe of Digital Cinema excitement for smaller theaters, multiplexes, and post production facilities around the world. It can also be used for 3D presentations on its own or as part of the new Christie 3D2P dual projector system.

Based on Texas Instruments' new .98" DLP Cinema chip, the Christie CP2000-M incorporates proprietary Christie optics to produce an image of exceptional quality. Purpose built to meet the needs of the exhibitor, it features a rugged, all-in-one design that can be easily installed. Combined with its infinite installation flexibility, it represents the most cost-effective value proposition for exhibitors seeking power, performance and ease of use in a compact form for small to midsize theaters.

The Christie CP2000-M features a new motorized lensing system and a selection of eight new zoom lenses that guarantees the right lens for virtually any auditorium with absolutely no need for resizing or scaling. It incorporates a "universal" switching power supply that supports a high performance Xenon bubble arc lamp. HDCP decryption on both DVI inputs, standard on the Christie CP2000-M, allows the display of copy-protected alternate content, Blu-ray, and even outside HDTV broadcasts. It can be self-cooled or use external air extraction, depending on theater configurations and need, for greater installation options.

Source: DCinemaToday

Philips Announces Commercial Availability of Cinefence Digital Cinema Forensic Marking for Both Image and Sound

Olivier Amato — Thu, 13 Mar 2008 09:52:00 +0000

Royal Philips Electronics announced the commercial availability of its CineFence forensic marking technology for both digital cinema image and sound. Five major Hollywood movie studios have approved Philips’ CineFence forensic marking of digital cinema sound tracks to deter piracy. The approval makes Philips’ CineFence the first forensic marking solution for both image and sound tracks for digital cinema.

The studios gave their approval for Philips’ CineFence image marking in 2006, and recently concluded extensive sound tests on Philips’ CineFence audio marking technology. CineFence supports forensic marking of up to 16 audio channels on a single Digital Signal Processor (DSP).

Illegal camcorder recording at cinema theaters has been identified as a major source of movie piracy. Since content pirates illegally record the image and sound tracks from different theaters, the movie studios adopted forensic marking as a mandatory requirement in the Digital Cinema Initiatives’ (DCI) Digital Cinema System Specification. Philips’ CineFence is the first forensic marking technology that fully complies with the DCI Specification and enables individual traceability of image and sound.

The CineFence marks are imperceptible to cinema audiences and yet maintain their integrity in illegally copied material. Comprehensive listening tests demonstrated that Philips marking technology does not make audible changes to the original sound tracks, but remains detectable even when recordings are compressed into pirate formats.

Source: DCinemaToday

All Digital, All the Time

Olivier Amato — Mon, 10 Mar 2008 13:17:00 +0000

This ShoWest 2008 marks approximately two years since the first serious rollout of DCI-capable digital-cinema systems in the U.S. Enough time has passed for us to look back at a few of the deployments to see what issues have been raised, how they have been resolved and, in general, how exhibitors are using the systems. We talked to a number of exhibitors and system integrators who have installed “all-digital” multiplexes and have come up with several views on how their deployments are going.

UltraStar Cinemas of Carlsbad, CA, made an early jump into digital in the fall of 2005 with the commitment to equip their entire 114 screens with digital projection through the AccessIT/Christie deployment plan. John Ellison, co-founder of UltraStar, has been a proponent of digital since 2002 when he was the first in California to install six 1.3K pre-DCI Boeing Digital Cinema systems for Star Wars: Episode I.

Ellison, a true believer in the power of marketing cinema amenities, was the first in the area to use THX certification and saw digital cinema as the next high-value attraction. As a result, in 2001 UltraStar developed their own “Pure Digital Cinema” marketing campaign to increase audience awareness. With the 2002 Star Wars release, Ellison found that his cinemas that were equipped and marketed as digital were earning up to twice the box office of his 35mm houses. Focused on maximizing his investment, and with marketing support from DLP Cinema and equipment vendors, Ellison was able to create a premium attraction that continues to pay off.

UltraStar completed its digital installations in all its screens in early 2006, but still has a few side-by-side film projectors for the occasional title not available in digital, but this is becoming rare. Ellison says, “In 2007, only two or three titles were not available to us in digital.” UltraStar has also added 3D and has six locations equipped with the Real D system. Looking back, Ellison declares, “I could not be more pleased with the way things have turned out. The AccessIT and Christie people have been excellent in making sure our transition to digital has been as smooth and painless as possible.”

Premiere Theaters, an independent ten-screen multiplex in Melbourne, FL, has also completely converted to digital. Getting started by converting a single screen to digital 3D with Disney's Chicken Little in the fall of 2005, Premiere's president Rob Kurrus quickly realized that he needed to transition the multiplex to fully digital as quickly as possible. Kurrus says, "It's all about enhancing the customer experience and we saw that digital, with its higher quality and flexibility, was the way to go."

After researching the various plans being offered, Kurrus selected the Dolby plan and their servers along with Barco projectors. Over a six-month period in mid-2006, Kurrus added digital systems until all his screens were equipped. Along with the original Real D 3D system, Kurrus has also recently added two Dolby 3D systems. "In hindsight, we probably left too many 35mm projectors in place, as we've found we really don't need them. Based on our experience, you only need 35mm in a few—at the most one-third—of the screens," Kurrus notes.

Kurrus admits the transition was not without its issues, particularly when he only had a few digital screens and had to move shows between auditoriums. During the transition, there were times when box-office revenues suffered because Premiere was not able to keep some popular titles in digital throughout the run. "There was a collective sigh of relief from the staff as the last Barco projector was installed," Kurrus recalls. "We have had virtually no problems getting our staff to understand the operation of the systems, as most our staff are fairly technically savvy. In fact, if anything, operating the 35mm projectors is a bigger challenge.”

Delivery of the security keys seemed to be an ongoing issue during the transition, but this smoothed out after a few months. An occasional problem still pops up. Most studios are still figuring out how to store and distribute digital content for repertoire titles. For example, after the digital run of one popular title, Premiere needed to bring back the title for a special-event showing. Although they still had the original digital file on the server, for some unknown reason the distributor could not reissue a valid key and had to send in a 35mm print for their event.

Rob Kurrus also feels a breakthrough in the simplification of their day-to-day screen operation came after Premiere installed the Dolby Library Server. Previously, titles had to be loaded into the individual players at each screen. The library server provides a single point for loading the titles used throughout the site. Shows can be scheduled, titles can be moved between screens, and the entire system monitored from a central point, or even remotely using a web browser.

Kurrus feels the remaining issues to be worked out are in the area of content and key delivery, and is looking forward to the day when all content arrives via satellite delivery and the keys are transparently loaded. He predicts, "Then the only reason to go into the booth will be to change the bulb.” Kurrus goes on to add, "The xenon bulb is the weakest link in the digital system. I would like to see some improvements there."

Megaplex Theatre of Sandy, UT, has converted 53 of its 69 screens at five sites to digital, with all digital projectors at its Gateway, Thanksgiving Point and Jordan Commons sites. Being in the Salt Lake City area, home of the Sundance Film Festival, Megaplex’s digital-cinema specialist Mike Renlund found that there is still a need for some 35mm equipment to accommodate titles from independent filmmakers, and he has converted several auditoriums to run both film and digital. Also, because of decreasing costs in mastering digital content, more and more independent filmmakers are making the switch to digital.

Renlund is pleased with the digital equipment and feels that most of the earlier transitional issues have been ironed out. “There were occasional problems in getting the right security keys,” Renlund notes. “Since we have both the Dolby 3D and Real D 3D systems, we initially had a few issues getting the right 3D files. Now that the distributors are supplying keys to all auditoriums, for the most part this seems to have been resolved.”

Megaplex has been aggressively using their new digital capability to attract new audiences by hosting business events, concerts and video-gaming events. For example, in conjunction with the Hannah Montana 3D release, Megaplex hosted a separate dress-up “Red Carpet Rock Star Event,” with a separate $15 ticket, that used the digital projectors to present live karaoke. Also, Megaplex has been using the digital auditoriums after hours to host X-Box Halo contests, according to Dave Bollard, Megaplex’s marketing manager. Megaplex has been able to fill auditoriums between midnight and 6 a.m. with teams competing between screens.

Malco Theaters of Memphis TN, also another early pioneer going back to the 2002 Star Wars deployment, has jumped into digital cinema in a big way. Partnered with Dolby as the system provider and server manufacturer, and with Barco projectors, Malco has approximately 60 digital systems installed of its expected 350-screen deployment. Mike Thomson, Malco’s VP of operations and technology, has been their driving force in making sure that each system is installed to deliver the best possible picture and sound.

Malco started by installing the new digital systems in its best-performing houses and intends to continue the upgrades at a manageable pace until all their screens are equipped. Thomson has developed an in-house technical staff of six who have been extensively trained by the manufactures in maintenance and operation of their equipment. Thomson admits that “digital is not as mature as film and still has a way to go. It’s not a cakewalk. However, we have a good operational record and have been able to deal with and learn from the issues as they come up.”

Malco has installed a few Dolby Digital 3D systems, and is impressed with the image quality of Dolby’s 3D process. Thomson likes the Dolby 3D system because of its conventional white screen and he feels their 3D image quality is the best in the market.

Thomson believes Malco’s success with digital is largely due to the strong relationships he has built with Dolby, Barco and other vendors and the investments made by Malco in developing the in-house staff to deal with installations, routine maintenance, and any unexpected issues. Thomson believes that the smaller exhibitors need to be prepared by either building up a strong in-house team, or working with service providers that can deliver the required support.

Rave Motion Pictures of Dallas, TX, has gone 100% digital in its 445 screens, with 37 equipped with Real D 3D. Rave partnered with AccessIT, using Christie projectors and Doremi servers in its digital rollout. At this point, Rave does not have any 35mm equipment and feels quite confident that there is enough mainstream content to support their exclusive “everything in digital” position.

Rave has also been an early adopter of 3D, with at least one Real D 3D installation in every complex. Of the 683 Hannah Montana play sites, Rave was able to capture almost five percent of the opening-weekend total box-office gross with its 28 3D screens. Jeremy Devine, VP of marketing, attributes the increase to an “intensive grassroots marketing campaign,” along with Disney’s phenomenal pre-release marketing to increase awareness of digital 3D. Devine has also been “shocked” by how successful the opera events have been, and is also experimenting with sporting events and other forms of alternative content. Rave has been attentive to scheduling the special events for afternoons and the relatively weak Tuesday and Wednesday nights. Overall, the success of Hannah Montana and other alternative content has affirmed Rave’s decision to be at the forefront of the digital and 3D rollout.

Brad Wardlow, Rave’s VP of operations, comments, “Rave made the digital transition over an 18-month period beginning in early 2005. We equipped in several ‘waves,’ initially starting with the higher-performing screens where we had booked the titles that we knew would be available in digital. By mid-2006, almost every title we were playing was available in the DCI format, so we decided to go ahead and replace the 35mm projectors on a site-wide basis. Having the building fully digital simplifies operation tremendously when compared to a split 35mm-digital site.

“We have certainly changed our staffing interview process since going digital,” Wardlow continues. “Previously, we would look for candidates that showed an aptitude for mechanical skills. Now, we focus on those that have an interest in computers and are familiar with software and menu-driven systems.” The next step in Rave’s digital implementation will be to integrate it with the box-office point-of-sale system, so there will be no need for manual show starts. This will eventually reduce staffing costs. Wardlow feels that while the digital projector’s operating costs may be higher than the conventional 35mm projector, the overall savings on a circuit-wide basis will be in the positive, after taking into consideration the savings in theatre operations.

In conclusion, all the exhibitors we spoke to were enthusiastic about their digital systems. All admitted they had been through a somewhat challenging learning process, but all said they had overcome any serious show-stopping issues, and felt they were delivering superior presentations. Common to all was the tremendous popularity of digital 3D, and all had developed innovative uses of alternative programming to raise attendance in off-hours. And finally, all seemed to emphasize the need to be prepared with either a well-trained in-house technical team or have a capable systems integrator working closely with them during the transition period."

By Bill Mead, Film Journal International

Electrosonic's New Digital Cinema Player Available at Showest

Olivier Amato — Mon, 10 Mar 2008 11:04:00 +0000

Electrosonic's MS9600, a high-performance JPEG2000 appliance, plays unencrypted JPEG2000 content at 2K, 1080p and 720p resolutions. The company will also be showing the prototype DCI compliant version of the player which promises to take the Digital Cinema industry by storm.

Capable of delivering crisp, beautiful images at a price point well below that of its competitors, the MS9600 features 2K resolution via dual HD-DSI and dual DVI-I video outputs, 16 channels of broadcast quality digital audio, an advanced user interface and confidence monitor. It also includes professional integration features such as Timecode and Genlock, gigabit network, serial control, and four general purpose I/O. The unit also supports web interface for complete remote control and configuration for playlist management, SNMP and Metadata support. The MS9600 is ideal for special venue applications since it supports 48fps 3D playback and multiple units can be synchronized for multi-screen presentations.

Source: Digital Cinematography

New Christie Dual Projector System for 3D Cinema Offers Best Value in the Industry

Olivier Amato — Mon, 10 Mar 2008 10:35:00 +0000

Christie, a global leader in Digital Cinema now offers the industry’s most cost-effective and flexible 3D Digital Cinema system. With the power of two Christie DLP Cinema projectors, the new Christie 3D2P offers more than double the brightness for presentations on screens of any size. Complete with an innovative stacking frame with rollers and adjustable racks, the system can be easily moved whenever and wherever needed within the complex.

The first to be installed in a commercial setting, the Christie 3D2P has been successfully deployed for groundbreaking 3D Digital Cinema features. The dual projector system is already winning praise from moviegoers at the widely acclaimed Krikorian Premiere Theatres, where it is presenting the latest 3D Digital Cinema releases.

“3D Digital Cinema is one of the most exciting developments in our industry. We looked at current single-projector 3D solutions and didn't like them for different reasons, including cost. We selected the Christie dual projector 3D2P solution because we can now screen the latest 3D features on any size screen in all of our complexes with no real concerns about light issues," remarks Todd Cummings, vice president of operations for Krikorian Theatres. “In fact, with the growing popularity of 3D, we will be utilizing the system on our larger 60-ft screens for 3D features. One of the distributors told us that they will be looking to increase the light through the polarized glasses by more than 30% for their future live action 3D films. Only a dual projector set-up can meet that requirement. A single projector system currently would not be bright enough to cover such a large screen.”

With the Christie 3D2P, exhibitors can utilize any of Christie’s comprehensive family of Digital Cinema projectors including their existing Christie projectors, in almost limitless combinations. The Christie CP2000 Series projectors also remain compatible with existing 3D technology providers.

Source: Christie

System Specifications for Digital Cinema in Germany

Olivier Amato — Sun, 09 Mar 2008 14:33:00 +0000

This document contains suggestions for structures and workflows introducing digital cinema in Germany. Consequences for producers, engineering firms, distributors, cinema operators and advertisement procedures will be taken into consideration. Special technical requirements of German market participants will be described. Furthermore this document contains system specifications and suggestions for equipment of cinemas, to benefit optimally from digital technology.

DCI specifications dated July 2005, DCI Compliance test plan (CTP) dated February 2007 as well as SMPTE standards of DC28 are the starting point for the introduction of digital cinema. They transfer hitherto screening technology to a digital cinema show. To clarify workflows and systems, existing specifications and standards will partly be explained. Within this document the scope will be broadened as well as substantiated on special requirements of German cinema. This also means future digital player systems have to be at least DCI-compatible.

The DCI specification does not include declarations about the distribution structure for DCPs, KDMs and Log records. Therefore this document will present a recommendation, for shaping these structures in Germany. Since DCI and SMPTE solely deal with realization of conventional cinema showings, this document includes also suggestion for equipment towards a further usage of the cinema with other digital media such as business events, live events, DVD screenings and so forth. Altogether this should add value to the cinemas. To what extent these possibilities will be used - thus what equipment is acquired - is left to the owner of the cinema.

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European Digital Cinema Security Whitebook is Online

Olivier Amato — Thu, 06 Mar 2008 08:05:00 +0000

This book results from the work of the Enhanced Digital Cinema (EDcine) project established by the European Commission in the context of the Networked Audio Visual line of the 6th framework of IST (Information Society and Technology). The world of digital cinema has been led by Hollywood initiatives. The Digital Cinema Initiative (DCI) is under standardisation by a subgroup of the Society of Moving Pictures and Television Engineers, namely the DC28. EDcine was launched in this environment to maintain the European industrial leading edge in the field and to develop new tools and best practices beyond the Digital Cinema Initiative (DCI). Economic, cultural and technical aspects are more complex in Europe. There is a clear need to go beyond DCI. In its initial functional analysis, EDcine included end-user groups, such as small production studios, local post-production
facilities, small and big distribution networks from large multiplexes to small arthouse cinemas, and cinema archives. It was then deemed necessary to settle the key digital cinema security questions in a “White Book”.

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NATO Releases Digital Cinema System Requirements v2.0

Olivier Amato — Wed, 05 Mar 2008 10:24:00 +0000

The National Association of Theatre Owners (NATO) issued today a revised Digital Cinema System Requirements document (version 2.0). The requirements are a product of a group of committed NATO member company volunteers, working in conjunction with NATO's Digital Cinema Consultant Michael Karagosian.

The first revision to the now 2-year-old NATO Digital Cinema System Requirements, version 2.0 is targeted to standards committees, product manufacturers, and service providers in the digital cinema supply chain. NATO's System Requirements provides important direction for areas not covered in the DCI (Digital Cinema Initiative) spec.

These include:
- Operational requirements
- Maintenance operations
- Workflow requirements
- System requirements for support of the blind, deaf, and hard-of-hearing.

A fresh review of the entire document was conducted, deleting some requirements no longer needed, and expanding or creating new section topics.

Among the highlights:
- Exhibitor-driven universal theatre identification scheme introduced.
- Establishes the requirement for a commodity digital cinema server.
- New requirement for closed caption support.
- Workflow automation requirements introduced.
- TMS (Theater Management System) described in terms of 3 service functions, with detailed roles for each service.
- New requirements for exhibitor network security.

According to NATO digital cinema consultant, Michael Karagosian, “The document describes new areas where additional standards work is needed. Completion and implementation of in-theatre standards are important next steps in the development of digital cinema, and NATO will continue to actively pursue these goals.”

NATO President & CEO John Fithian added, "I applaud the dedication of these men and women to sensible digital cinema operations, and I encourage theater owners to make appropriate use of these requirements in their equipment purchasing policies.”

Source: DCinemaToday

XDC, Qubo and Dynamic Launch “DDCinema”, The First Pan-European Alternative Content Distribution Initiative

Olivier Amato — Fri, 21 Dec 2007 15:23:00 +0000

"XDC announced today that it has signed a cooperation agreement with Qubo and Dynamic to launch, promote and manage the distribution of digital cinema alternative content through the DDCinema service platform. The initial purpose is the distribution of lyrical operas, produced at the most prestigious European theatres, with a mix of recorded and live events. DDCinema will offer to cinemas an eclectic range of alternative content, i.e. all programming content other than films, trailers and advertising content, including, but not limited to, television programs, sporting events, stage productions, concerts, documentaries, anime films and live events.

As Fabrice Testa, Marketing & Operations Manager of XDC, pointed out, “DDCinema alternative content programmes will be available to all exhibitors across Europe equipped with 2K digital projectors - about 700 screens today.” He added: “Any MXF interoperable D-Cinema server will be able to play back any alternative content prepared by the XDC Digital Content Lab, DDCinema offer is thus not only limited to the screens connected to XDC’s Network Operations Centre.”

Today, the DDCinema platform already offers about 25 opera titles, and on 27th January 2008 it will offer the first live broadcast from Palermo, Italy, on the opening night of the season of Teatro Massimo, one of the most beautiful theatres in the world. The opera in question, featuring singers of international renown, will be a new production of Arrigo Boito’s Mefistofele, a spectacular work taken from W. Goethe’s Faust. More live events are planned from Teatro dell’Opera di Roma, Teatro La Fenice di Venezia, Teatro Liceu of Barcelona, Teatro Real of Madrid, and other renowned venues."

Source: DCinemaToday

European Exhbitor CGR Cinémas Selects Doremi Cinema's DCP-2000 Server for Arts Alliance Media Rollout

Olivier Amato — Wed, 05 Dec 2007 15:37:00 +0000

"Doremi Cinema is proud to announce that its DCP-2000 cinema server has been selected by Circuit George Raymond (CGR Cinémas) for all its 400 screens in France. The DCP-2000 installation will be part of an exclusive Virtual Print Fee (VPF) based agreement with Arts Alliance Media (AAM), Europe's leading provider of digital distribution services. With this agreement CGR Cinémas will become the first European exhibitor to convert completely to Digital Cinema exhibition.

CGR Cinémas chose Doremi's DCP-2000 server out of the brands evaluated and selected by AAM. Christie Digital has been chosen to provide digital cinema projectors and French cinema integration and services company Cine Digital Service will provide local installation and support services.

Two hundred screens are scheduled to be completed during the first year of the rollout that is set to begin in the first quarter of 2008. Eight screens will be equipped in December this year, in time for 3D digital cinema screenings during the Christmas holidays. In addition to the players, Doremi Cinema will also provide the Theater Management System (TMS) and the gateway integration with CGR Cinémas POS/Ticketing system developped by Monnaie Services. The Smartjog secured media delivery network will also be interfaced with the DCP2000 & TMS.

CGR Cinémas is a leading and expanding cinema chain in France. The company is well known for the success of its multiplexes in many mid-size cities across the country, for the efficiency of its cost management and for its profitability. By becoming the first European cinema chain to go fully digital, CGR Cinémas is demonstrating that it is an innovative company, ready to embrace new technology to deliver the best possible quality cinema experience.

CGR Cinémas is the first European exhibitor to sign up to a VPF-based rollout. The VPF business model is a means of financing the conversion to Digital Cinema, where both distributor and exhibitor contribute over time towards the total cost of the digital projection and server equipment, funded up front by the rollout entity AAM. The VPF model has been proven in North America, with over 4,320 digital screens installed to date, all using Doremi Cinema servers and Christie's digital cinema projection systems.

This agreement will see the number of theatres equipped with Doremi Cinema servers reach the 1,000 milestone in the EMEA region alone; and will add to the over 4,500 installations of Doremi Cinema players installed in the world today."

Source: DCinemaToday

Access IT Announces International Distribution Agreement with Doremi for its Theatre Command Center and Library Management System

Olivier Amato — Wed, 05 Dec 2007 15:29:00 +0000

"Capitalizing on their successful collaboration in the U.S. digital cinema market, Access Integrated Technologies (“AccessIT”) announced a non-exclusive distribution agreement with Doremi Labs Inc. (“Doremi”) for territories outside of the United States. The agreement allows Doremi to bundle their world leading media server with AccessIT's unique Theatre Command Center software and Library Management System, a proven solution that is supporting more than 3700 screens in the United States.

Two successful pilot programs with cinema companies in the United Kingdom and Ireland kick-started this effort which enables AccessIT to expand its reach outside of the United States, while providing first response support via Doremi, a trusted partner."

Source: DCinemaToday

JVC Joins the 4K Projection Club

Olivier Amato — Thu, 29 Nov 2007 13:04:00 +0000

"If you've been tuned into Digital Cinema Projection for the past couple of years, you'd know that when it comes to 4K projection (4Kx2K image), sony's SXRD series was pretty much the only game in town. DLP is limited to 2K and most of the projectors out there (Christie, Barco, NEC) are all 2K projectors.

A downside of Sony's projector is that although it is as hefty as a small car it only has a 2000:1 contrast ratio (measured less than that calibrated). Its rated aggresively for 40ft screens which is not nearly big enough for true cinema applications.

That was true until JVC announced their 1.27-inch 4Kx2K D-ILA (Direct-drive Image Light Amplifier) chip at InfoComm 2007. The chip can produce a 4096x2400 pixel image with a 20,000:1 contrast ratio. That's nearly 10x the contrast ratio of the Sony behemoth.

Major Specifications:
Device size: 1.27-inch diagonal
Number of pixels: 4096 x 2400
Pixel pitch: 6.8 µm
Gap between pixels: 0.25 µm
Aperture ratio: 93%
Device contrast ratio: 20,000:1
Response time (tr+tf): 4.5 ms

The DLA-SH4K, which packs the 4k D-ILA chip, touts a 4,096 x 2,400 resolution, 10,000:1 contrast ratio, 3,500 lumens, a dual-link DVI input, multiscreen mode, an Ethernet port for remote operation and RS-232 / USB connectors. It measures 660 x 827 x 340 mm and is slated for launch in the first half of 2008."

Source: Digital Cinema Buyers Guide

Thomson Signs Agreements with Three North American Exhibitors to Provide Digital Cinema Projection Systems

Olivier Amato — Tue, 27 Nov 2007 22:10:00 +0000

"Thomson, through its Technicolor Digital Cinema business, has signed agreements with Clearview Cinemas, iPic Entertainment and Cinemaworld to install digital projection systems as part of its North American digital cinema equipment deployment.

Clearview Cinemas is a Chatham, New Jersey-based exhibitor that operates 50 theatres with 254 screens, 246 of which are in the New York DMA, the country’s largest metropolitan market. Clearview also owns and operates New York City’s legendary Ziegfeld Theatre, one of the country’s most famous movie palaces and the location of countless movie premieres and red-carpet events.

IPic Entertainment, based in Fort Lauderdale, Florida, is a new company founded by Hamid Hashemi, former president and CEO of Muvico Theatres. With its first location set to open in the Milwaukee suburb of Glendale, Wisconsin on December 7, iPic’s innovative entertainment complexes will include luxury movie theatres, an upscale bowling venue, a restaurant and bar, and an auditorium for live events. iPic has additional locations currently under development in Texas, Illinois, Ohio, California and Florida.

"Digital Cinema is the future of movie exhibition, and we are excited to be on the cutting-edge working with Technicolor so that our guests can experience movies with the highest quality image and sound possible,” said Hamid Hashemi, president and CEO of IPic Entertainment. “We’re also excited about the innovative new programming options that this technology enables, such as 3-D and live events."

Vero Beach, Florida-based Cinemaworld operates 32 state-of-the-art, all-stadium screens in Florida and Rhode Island, and plans to expand into two new markets beginning in early 2008. Cinemaworld’s West Melborne, Florida site has been a test bed for Technicolor’s prototype digital systems since 2002.

Each theatre installation will feature Technicolor’s fully integrated networked systems, which include a satellite system for content delivery and the Technicolor Theatre Management System. The Technicolor Theatre Management System is a software solution that enables exhibitors to control theatre automation and manage all content such as trailers, advertisements, and features with simple drop and drag technology. The digital cinema systems will be supported by Technicolor’s maintenance services with 24/7 remote monitoring to ensure system health.

Technicolor Digital Cinema has installed digital cinema systems with several prominent exhibitors in North America and Europe including ArcLight Cinema Company, Mann Theatres, National Amusements, Wehrenberg Theatres, Zyacorp’s Cinemagic Stadium Theatres, and Kinepolis Group in Belgium.

Thomson intends to complete the first phase rollout of digital projection systems in up to 5,000 screens over the next three to four years, with 15,000 screens in the United States and Canada over the next 10 years.

All hardware and software placed in each site will conform to industry-standard specifications published by Digital Cinema Initiatives LLC (DCI). Furthermore, the Technicolor Digital Cinema plan is technology agnostic, enabling both exhibitors and studios to benefit from the best available technology, including both 2K and 4K projection.

As previously announced, Thomson has signed digital cinema equipment usage agreements with DreamWorks SKG, Sony Pictures Entertainment, Twentieth Century Fox, Universal Pictures, and Warner Bros. to support its plans for the distribution of digital cinema content and systems throughout North America. Under the separate, long-term accords, each of these studios has agreed to distribute content digitally throughout the United States and Canada, and pay a virtual print fee to Thomson for screens equipped with Technicolor Digital Cinema systems, which began in late 2006."

Source: DCinemaToday

Disney Brings 3-D Thunder to 'Bolt'

Olivier Amato — Mon, 26 Nov 2007 11:41:00 +0000

"Disney Feature Animation's "Bolt" -- previously titled "American Dog" -- will be released in digital 3-D when it opens Nov. 26, 2008.

"We are going to have fun family 3-D at Thanksgiving," Disney president of domestic distribution Chuck Viane said. "We absolutely believe in the whole concept of 3-D and the enhancement that it brings in the ability to separate us from any of the other mediums."

"Bolt" is the latest digital 3-D announcement from Disney, which has been a pioneer of the format. The company's digital 3-D releases have included "Chicken Little," "Meet the Robinsons" and "Tim Burton's The Nightmare Before Christmas."

Burton also recently signed a two-picture deal with Disney through which he will direct and produce 3-D features of Lewis Carroll's "Alice in Wonderland" and Burton's short "Frankenweenie." Disney next releases in 3-D the "Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour," which will play in theaters Feb. 1-7.

The "Hannah Montana" release should be available on about 700 screens. "By the time we get to 'Bolt,' I think you may be looking at somewhere between 1,200 and 1,500 potential 3-D screens (domestically)," Viane said. "That would be terrific."

John Travolta and Susie Essman lead the voice cast of "Bolt," the story of a TV star dog named Bolt (Travolta) who is accidentally shipped from his Hollywood soundstage to New York, where he begins a cross-country journey through the real world. Chris Williams directs."

By Carolyn Giardina, The Hollywood Reporter

'Beowulf's' Bow Takes 3-D to the Next Level

Olivier Amato — Fri, 16 Nov 2007 09:00:00 +0000

"If you're looking to see Beowulf take on Grendel this weekend in 3-D, you have some choices. Paramount/Warner Bros.' anticipated "Beowulf," from director Robert Zemeckis, will be the first Hollywood feature to open simultaneously in Imax 3-D and digital 3-D. This looks like the beginning of a new trend. More 3-D features will open in both digital and Imax 3-D formats in 2008. Already scheduled are the U2 concert film "U2 3D" and Summit Entertainment's CG-animated "Fly Me to the Moon." Also, DreamWorks announced this week that its animated 2009 3-D releases "Monsters vs. Aliens" and "How to Train Your Dragon," as well as the 2010 opener "Shrek Goes Fourth," will be released in both digital and Imax 3-D formats.

The release of "Beowulf" will help expose the 3-D format to the widest audience to date. The film will open in 3-D on about 800 screens domestically. Stakeholders agree that this activity is good for 3-D. Says Richard Gelfond, co-chairman and co-CEO of Imax Corp., "The more 3-D the better it is for Imax because as films are produced in 3-D there's more content available." Still, Imax 3-D and digital 3-D represent immensely different economic models. In fact, even digital 3-D has variations, with vendors offering different approaches to projection and viewing. The industry will be closely watching how each of these 3-D models fare as the format evolves.

Digital 3-D is still young, having hatched in late 2005 with the release of Disney's "Chicken Little." This method is enabled by a 3-D system being installed in a theater that is equipped with a digital-cinema projector. About 4,600 digital-cinema projectors have been installed domestically, and many more deployment plans are being worked out. Current 3-D system providers include Real D, Dolby and NuVision. The content is typically distributed on hard drives.

Real D was the first 3-D system out of the gate and represents the lion's share of current installations. At press time, it was expected that there would be about 620 Real D-equipped auditoriums showing "Beowulf" in 3-D this weekend. Real D's technique requires the use of a "silver screen" and "circular polarized" glasses. It enables 3-D on screens maxing out around 47 feet high. For any system, screen size comes down to how much light can get to the screen from the projector.

Dolby recently completed its beta phase, and deployment has started. It expects to have about 30 screens domestically and 75 worldwide for the "Beowulf" opening. Installed systems support on average 40-foot-high screens. Dolby's system doesn't require a special type of screen, using those that are standard in today's theaters, but audiences would use special Dolby glasses.

NuVision also recently began U.S. deployment of its 3-D system, and the company estimated it would have six screens showing "Beowulf" in the U.S. and about 100 in Europe. It doesn't require a special screen.

Imax has been in business for 40 years. Its system is a 70mm film-based projection and distribution model, where the images are rendered on screens reaching from 50 feet high to 70 feet wide to as large as 80 feet high and 100 feet wide. Imax positions itself as a premium experience. "Imax 3-D is the first-class experience," Gelfond says. "Imax 3-D alows people to be 'inside' the movie. ... The screen goes to the peripheral vision of the viewer." He adds: "Digital 3-D has its place. Because of its footprint, it allows a lot of people to see features in 3-D where they otherwise couldn't."

Michael Lewis, CEO of 3-D provider Real D, says: "We feel digital is really the future of where 3-D is going to be. We've focused on 'how do we get this to every multiplex in the world.' "

Deployment costs and models vary. For digital, the projectors in many cases are installed via the virtual print fee model used for 2-D digital cinema by exhibitors -- a separate deal from that with the 3-D provider. Imax models include joint ventures and leasing.

"It actually is two different sets of economics," says Howard Lukk, Disney's vp production technology. "(For instance), the preparation of (Imax) prints is expensive. It's a lot more expensive than for a digital 3-D model." He said models also vary as to who supplies the glasses for digital presentations.

Adds Shindler of digital technology in multiplexes: "From an exhibitor's point of view, in digital, if a movie doesn't play well, they can move another movie in there instantly. In a megaplex, there are always going to be enough movies playing that they can move (a title)."

Shifting to boxoffice expectations, generally insiders predict that the per-theater average for "Beowulf" in 3-D will be two-and-a-half to three times that for the 2-D version. Some say Imax's average might go even higher.

With so many more theaters playing digital 3-D than Imax 3-D, digital would presumably have the higher total boxoffice of the two formats, Schindler says. "Imax can't complete with (about 85) screens, even though seating capacity in many of the Imax theaters is much bigger," he says.

Looking to 2008, many are eager to see what technological developments are on the horizon and what impact they might have on these models. Notably, Imax is developing a digital projection and distribution system for its format that the company expects to launch in June. This could prompt significant change in the company's economics.

As well, Real D has developed a technology it plans to launch next year that it says will allow its system to reach screens as high as 70 feet with a single projector, which the company hopes will help step up deployment in larger auditoriums. Newcomers Dolby and NuVision are only just starting to deploy systems, making them a factor to watch in the coming years.

Digital delivery methods also are likely to shift as more screens mean that distributors can take advantage of economies of scale. Explains Lukk: "It's going to be a hybrid world with some hard drives, satellite and networked fiber-delivery systems."

For the consumer, all of this simply means that there are more opportunities to view a motion picture in 3-D. Shindler points out: "There are a lot of consumers that are not familiar with 3-D, and they are going to go to whatever theater is most convenient for them."

Lewis looks forward to continued movement in 3-D. "Clearly, 3-D is where cinema is going," he says. "We've seen every major studio plus major film directors embrace it. It's going to be the platform for releasing tentpole movies."

By Carolyn Giardina, The Hollywood Reporter

Imax Signs 4-Film Deal with DreamWorks Animation

Olivier Amato — Thu, 15 Nov 2007 09:33:00 +0000

"Imax and DreamWorks Animation have agreed to release the studio's first three 3D motion pictures worldwide in Imax 3D: "Monsters vs. Aliens" in March 2009, "How to Train Your Dragon" in November 2009 and "Shrek Goes Forth" in May 2010. A fourth DreamWorks title, "Kung Fu Panda," will be released in Imax's 2D format in June 2008. The films will be distributed by Paramount Pictures, a unit of Viacom.

Earlier this year, DreamWorks announced plans to release all its computer animated films in 3D starting in 2009. It was welcome news for all that had a stake in the emerging 3D film industry, such as privately held Real D, the leading provider of digital 3D projection technology. At the time, DreamWorks made no specific mention of Imax and its giant-screen format.

DreamWorks had planned to release the original "Shrek" movie in Imax 3D in 2000, but the idea proved to be several years ahead of its time. The release was cancelled due to financial issues gripping Imax and the exhibition industry back then.

But Imax is now on the threshold of a transition to digital, and the slate of DreamWorks 3D titles it announced Wednesday is expected to be among the first presented with its new digital projection system, scheduled to be launched in June. Gelfond said the potential of the new Imax digital projector "facilitated" the agreement with DreamWorks because the cost drops to almost zero compared to $45,000 for one Imax 3D print.

One exhibition industry source said the expense of Imax prints and the complexity of transporting them has long been an issue for Hollywood studios and commercial exhibitors, but should be addressed with the introduction of the Imax digital projector. "When it becomes digital, you're talking about a whole new model," the source said.

If the DreamWorks films are big at the Imax box office, that could be enough to lure other studios, namely Walt Disney, into the Imax camp as well, the source added.

While a 40-minute computer-animated film, "Sea Monsters," opened in both digital 3D and Imax 3D last month, the release of Paramount's "Beowulf" this weekend marks the first time a feature film is released in both 3D formats. The source said the overall results at the box office were modest, but sales at Imax theaters were "substantially higher" compared to the majority of digital 3D presentations.

"Beowulf" is expected to be the widest digital 3D release ever, in the neighborhood of 1,100 digital screens. By comparison, the film will open in 124 Imax theaters worldwide.

A film industry source said the Imax-DreamWorks deal shouldn't come as a surprise, as the studios want as many "eyeballs as possible" for their 3D films and Imax understands it's not alone in delivering 3D to audiences. Most studios see 5,000 screens as the magic number, and a pipeline of 3D content, such as James Cameron's "Avatar," together with the Imax-Dreamworks releases, should help make that happen by 2009, the source added."

CNN Money

$8 billion Digital Cinema Market Beckons: Half of All Screens Will Be Digital by 2013

Olivier Amato — Wed, 14 Nov 2007 11:04:00 +0000

"The conversion of the world’s cinema screens to digital technology is at last under way, opening up a potential $8 billion equipment market at today’s prices. As soon as 2013 half of all cinema screens worldwide could employ digital technology in place of traditional 35 mm projectors, according to the latest Digital Cinema Report by analysts Dodona Research.

After more than a decade in development, digital cinema took off in 2007 with 4,627 screens converted by September, approaching 5% of the global total. The beginnings of widespread adoption of the new technology has been facilitated by the emergence of third parties willing to finance the huge conversion costs. These so-called integrators typically finance purchase of the equipment, seeking to repay loans by levying an array of usage charges. While the cost of installation, maintenance contracts and sometimes content delivery charges are paid by exhibitors, the main source of revenues to support conversion comes from so-called virtual print fees. These are paid by film distributors out of their notional savings from not having to strike 35 mm film prints.

The report observes that, while most of the debate about digital cinema has revolved around film distributors and exhibitors, in practice these businesses will be relatively little affected compared to film processing laboratories and the film transport business. In particular, the $1.5 billion market for release printing will, the report predicts, all but disappear, while in the long run the film transport business will be superseded by delivery by satellite or over other digital networks.

With one provider, Access Integrated Technologies, responsible for 80% of digital cinema installations to date, it would be premature to judge how robust current business models will prove. In essence most participants in this market are seeking to develop networks of digital cinemas and then build revenues from providing a range of services such as mastering and delivering digital films, supplying alternative content, screen advertising services, and upgrades and maintenance of software and equipment.

After Access, the three leading companies in this area are XDC, Arts Alliance Media and Technicolor, each with a market share in the region of 6-7%. Equipment markets are also dominated by a small number of companies. Christie has a 77% share of the 2K and 4K digital projector market, followed by Barco with 14% and NEC with a little under 8%; in servers Doremi has a near 80% share of 2k and 4k installations, followed by Dolby with 9% and XDC, with 5%.

Digital cinema primarily makes sense in terms of networks, so installations tend to be concentrated in clusters. 78% of all digital cinema screens are in the United States, and 40% in the cinemas of a single circuit, Carmike Cinemas. The second largest number of screens is in the United Kingdom, thanks to the UK Film Council’s initiative in establishing the Digital Screen Network, while South Korea, where three exhibitors, Megabox, Lotte and CJ CGV, are committing to digital cinema to serve one of the world’s most tech-savvy audiences, is third.

The countries where the progress of the technology is most advanced, however, are Luxembourg, Singapore and Belgium. Half of Luxembourg’s screens are already digital due to the rapid embrace of the new technology by its leading exhibitor, Utopia. In Singapore the Eng Wah circuit was supported in converting to digital as long ago as 2004 by the city state’s development agencies, as part of a strategy to establish Singapore as a digital hub in the region. In Belgium, another initiative by a leading exhibitor, the Kinepolis Group, saw 10% of the country’s screens converted by September 2007 with plans to convert most of its circuit by the end of the year.

With more than 50% of the market soon to be digital in Belgium and Luxembourg, it is likely that there will soon be pressures to complete the conversion process, due to the high costs of so called dual-running of digital and 35 mm distribution systems. This could become a highly politicized process if, as is widely feared in Europe, smaller exhibitors are not able to access equipment at an affordable cost.

The main factor slowing further adoption, according to the report, has been the absence of any obvious source of extra revenues from installing the new technology. While cinema exhibitors have been quick to note the benefits to distributors of much lower print costs, they have been sceptical about the potential impact of alternative or non-traditional content, for example sports events or concerts, on their bottom lines. Although Dodona believes this scepticism is misplaced, seeing classic movies as a particularly promising source of higher revenues, instead there is a consensus building up that 3D will be the driver that takes the market to the next level.

Two rival systems from Real-D and Dolby have different advantages and disadvantages but Real-D, which was earlier to market, dominates in installations, with 423 in place by September 2007 and more than 1,000 expected for the North American release of Beowulf, compared to perhaps 75 to 80 Dolby systems by the same date. Barring mishaps, these numbers are expected to grow exponentially to 2009, when a number of high profile films, made explicitly to exploit the 3D medium, are due to be released, including Avatar from James Cameron, Monsters vs Aliens and the first film in a series featuring TinTin.

With at least 5,000 3D systems expected to be in place by 2009, this will clearly provide a considerable impetus to the digital conversion process, as these 3D systems need a digital projector to bolt onto. The Odeon UCI circuit, for example, has announced its intention to install 500 3D systems despite today having fewer than 100 screens converted to digital.

The consultants counsel against over-confidence in this market. Financing the equipment is complex and difficult conditions in financial markets could derail progress by making money more expensive and leading financiers to question future revenue assumptions more stringently. The report’s author, Karsten-Peter Grummitt notes the importance of game theory in understanding this market. The equipment manufacturers want to defray their R&D costs; the distributors want to make the minimum financial contribution possible to conversion; exhibitors wonder whether potential new revenue sources will justify the investment. “Nevertheless,” says Grummitt, “the next step in the market’s evolution is probably going to need a fall in the price of equipment, or higher virtual print fees, or bigger exhibitor contributions, or all of these. Strategies in this market need to move on from the ‘who pays?’ face-off of the last few years to focus on how to get this done.”

Source: Digital Cinema Buyers Guide

QuVIS Announces 3D JPEG2000 Support for the QuVIS Cinema Player

Olivier Amato — Wed, 14 Nov 2007 10:41:00 +0000

"QuVIS has successfully integrated support for the new DCI JPEG2000 3D format in the QuVIS Cinema Player. The DCI JPEG2000 3D format is comprised of two 12-bit 4:4:4 video streams, left eye and right eye, stored in a single image track file. During playback, the QuVIS Cinema Player decodes the image track file and separates left eye and right eye picture data into two separate synchronized output video streams.

The QuVIS Cinema Player can be used for 3D stereoscopic exhibition using either passive or active visualization technology. 3D Passive viewing is achieved by projecting two images onto the same screen using orthogonal (linear) or circular polarizing filters. The viewer wears low-cost eyeglasses fitted with the polarizing filters needed for that display type. In 3D Active viewing the viewer wears LCD (Liquid Crystal Display) shutter glasses that receive a wireless signal from the projector to open and close the lens shutters on the glasses in an alternate-frame sequencing method.

The QuVIS Cinema Player, the central component of QuVIS’ Digital Cinema Network solution, is an elite multi-format playback server that has been designed to meet the performance, security and reliability needed for years of faithful service. The QuVIS Cinema Player not only provides the basic Digital Cinema functionality (e.g. 2K and 3D JPEG2000 playback and local content loading) but also features many advanced server capabilities including: 2K playback of a 4K Digital Cinema Composition, Network-based content loading even during active playback, Secure Logging and Reporting, Forensic Watermarking, and full theater automation programming and controls."

Source: DCinemaToday

Real D Eases Path to 3-D for Theaters

Olivier Amato — Tue, 13 Nov 2007 19:35:00 +0000

"Digital 3-D system provider Real D has developed a technology with the potential to allow a greater number of digital-cinema-equipped theaters to offer the stereoscopic format.

"It will allow us with single projectors to reach much bigger screens," Real D president Joshua Greer said. "Where we've been limited to much smaller screens, we can now reach as high as a 70-foot screen with a single projector. We were typically maxing (out) at about 46 or 47 feet for scope."

The challenge has been the inefficiency of light in 3-D projection. "3-D is about sending images to your left and right eye," Greer said. "We basically divide up the light. Half of the light is conditioned to work for one eye, and half is conditioned to work for the other. Light that has not been passed from one eye to the other has essentially been lost in the past. Now we can be very efficient."

Real D CEO Michael Lewis said the challenge of light has until now resulted in missed opportunities, noting that the problem was keeping 3-D from being a viable option in about 15%-20% of domestic screens -- those being the largest.

Added Greer, "Now we get demands from our exhibitors saying that they want to be in the biggest house, and we have to say no because we want to make sure there is enough light on the screen."

Today, projection of 3-D imagery on larger screens typically is accomplished with two d-cinema projectors stacked one on top of the other and used simultaneously. But acquiring and maintaining two d-cinema projectors for a single auditorium is not practical for exhibitors.

Real D expects to have the modified 3-D systems for larger theaters and incorporating this new technology available in 2008."

By Carolyn Giardina, The Hollywood Reporter

Dolby, Real D Taking on Another Dimension in Movies

Olivier Amato — Tue, 13 Nov 2007 19:19:00 +0000

"For more than 30 years, Dolby Laboratories has enriched the sound of movies. Now, the San Francisco pioneer is looking to revolutionize the visual experience as well, with newfangled 3-D films.

The company is marketing filtering technology that enables theaters to show high-definition, 3-D movies with the digital projectors they already use.

This week will mark the first real, albeit small, deployment of Dolby's new product, with the release of the adventure film "Beowulf." The motion-capture animated film, by director Robert Zemeckis and featuring Anthony Hopkins and Angelina Jolie, is at the vanguard of a new wave of digital 3-D movies backed by some of Hollywood's most talented directors.

Dolby's just getting started in the market, where its biggest competitor is Real D of Beverly Hills. About 80 theaters will be using Dolby's product to show "Beowulf," compared with 1,100 worldwide that will be employing Real D's technology.

Together, the companies and the studios are providing consumers with an experience that promises real visual immersion. It's more than gimmicks, such as objects being tossed at the audience.

"Digital 3-D is like high-definition TV," said Jeff McNall, cinema product manager for Dolby. "Once you see it, it's hard to go back to old TV."

Dolby is not new to images. Founder Ray Dolby started his career making videotape recorders. But his business primarily was dedicated to noise reduction, and later to high-quality audio technology now used in movies, CDs and video games.

A few years ago, the company began manufacturing video servers that allow theaters to store their movies digitally and decrypt them for playback using digital projectors, which started gaining popularity in 2005.

It's these digital projectors that are enabling high-definition 3-D movies to come to life on the consumer end. Instead of lining up two film projectors, theaters can use one digital projector and then convert it to 3-D using technology from Real D and Dolby.

Dolby has created a filter for projectors that breaks 3-D images into red, blue and green bands of light that are recognized by layered 3-D glasses. Gone are the days of the throwaway paper-frame glasses. With the Dolby glasses costing about $50 each, theaters will need to wash them after each viewing, and viewers won't be able to take them home as souvenirs.

The advantage of Dolby's system is that theaters don't have to install aluminized silver screens like they do with the Real D product. And theater owners can move 3-D movies to any of their screens, making room on bigger screens for new releases.

"This allows a multiplex to be able to use 3-D efficiently," said McNall. "They can open a 3-D movie on opening weekend with a large screen and then they can go to a smaller screen later."

The Real D system projects sequential polarized images onto the aluminized screen, which maintains the polarization so viewers can see the images on their glasses. Real D Chief Executive Officer and founder Michael Lewis said past projection systems have never provided a dynamic and consistent 3-D experience. The digital 3-D system, he said, is finally delivering on the original promise of 3-D in the 1950s.

"We're binocular beings. We see with depth, yet all our media is flat. We've tried with red and green glasses, but it's never been good enough until now," Lewis said. "We're using this combination of 3-D science and digital projectors to create a perfect experience every time."

Hollywood's biggest names are lining up behind 3-D. Director James Cameron of "Titanic" fame has been working for the past decade on 3-D cameras that are lightweight, incorporate two lenses in the body and are able to capture big action and close-up scenes, something older 3-D camera setups were unable to do.

The technical advances have excited the likes of directors Peter Jackson and Steven Spielberg, who are collaborating on a series of animated films about a Belgian character named Tintin.

George Lucas is intrigued by the potential of 3-D, his company said, and is considering re-releasing his "Star Wars" movies in the format. All of the major studios have 3-D movies in the works, including a $195 million blockbuster titled "Avatar."

The first live-action movie to be shot in digital 3-D, as opposed to being animated or altered from 2-D, is next year's "Journey 3-D," a retelling of Jules Verne's "Journey to the Center of the Earth." Beau Flynn, a producer on "Journey," said Hollywood is falling in love with digital 3-D now that the technical hurdles have been cleared.

"We're able to make a real story and not rely on 3-D gimmicks," said Flynn. "We owe it to the audience because we haven't really changed the theater experience in over 30 years."

For movie theater chains, digital 3-D is appealing on a number of levels. Regal Entertainment Group, the largest in the United States, will charge $2.50 more for a 3-D presentation. And they're popular: "Meet the Robinsons," a 3-D animated film released earlier this year, earned more than a third of its $98 million domestically from 3-D showings, even though only one-sixth of the screens were able to show the film in 3-D.

Dick Westerling, senior vice president of marketing for Regal Entertainment Group, said the company has outfitted 134 of its more than 6,000 screens for 3-D.

But he imagines that theaters could eventually deploy 3-D on about 20 percent of their screens because of its appeal with viewers and its money-making potential.

Chris Chinnock, president of Insight media, a market research firm focused on the electronic display industry, said the next few years will be big for 3-D, as digital projectors become more common and more creators see the potential behind 3-D storytelling.

"There are a lot of titles coming up in the next couple years that will build up to 2009. That's shaping up as a critical year for 3-D movies," Chinnock said. "If we continue to see good returns and enthusiasms from consumers, we should get some good hits from these movies."

Upcoming 3-D projects :
- "Beowulf," the motion-capture animated retelling of the epic Anglo-Saxon poem. Nov. 16.

- "U2 3D," a 3-D movie of the Irish band's Vertigo tour. January 2008.

- "Journey 3-D," a remake of the Jules Verne story "Journey to the Center of the Earth". August 2008.

- Steven Spielberg and Peter Jackson have plans to direct and produce three 3-D films based on Georges Remi's Belgian comic-strip hero Tintin. Expected 2009 release.

- Beginning in 2009, all DreamWorks films will be in 3-D, starting with "Monsters vs. Aliens," "How to Train Your Dragon" and "Shrek 4."

Source: San Francisco Chronicle

Half of Screens to Be Digital by 2013

Olivier Amato — Tue, 13 Nov 2007 18:54:00 +0000

"Half of worldwide screens will be digital by 2013, according to a report by cinema analysts Dodona Research.

This year has seen an explosion in digital conversion with 4,627 screens, 5% of the global total, switched to digital up to September.

Penetration is deepest in the U.S., home to 78% of the world’s digital screens. The U.K. and South Korea boast the second and third most digital screens.

Other advanced Euro digital cinema territories are Luxembourg and Belgium, where aggressive conversion led by forward thinking exhib circuits Utopia and Kinepolis, respectively, means almost 50% of both small markets are digital.

Report predicts upcoming slew of high-profile 3-D releases will increase exhib’s appetite for digital conversion.

Dodona points to the example of the Odeon UCI circuit, which has announced its intention to install 500 3-D systems, despite having fewer than 100 screens converted to digital at present.

Recent widespread adoption has been facilitated by the emergence of third party integrators willing to cover the large conversion costs, says the Dodona report.

These integrators typically finance purchase of the equipment, seeking to repay loans by levying an array of usage charges. While the cost of installation, maintenance contracts and sometimes content delivery charges are paid by exhibitors, the main source of revenues to support conversion comes from virtual print fees. These are paid by distributors out of their notional savings from not having to strike 35 mm film prints.

The report, although upbeat on the prospects for continued conversion, does identify a variety of hurdles standing in the way of the d-cinema revolution.

“The next step in the market’s evolution is probably going to need a fall in the price of equipment, or higher virtual print fees, or bigger exhibitor contributions, or all of these,” report author Karsten-Peter Grummitt said. “Strategies in this market need to move on from the ‘who pays?’ face-off of the last few years to focus on how to get this done.”

Source: Variety

Digital Will Take Hold in 2008

Olivier Amato — Sat, 10 Nov 2007 11:16:00 +0000

"This week Access Integrated Technologies announced the completion of phase one of its digital cinema deployment and unveiled phase two, a three-year, 10,000-screen rollout that will commence in the first quarter of next year. Although the company’s release was short on details—which exhibitors and distributors would be participating in this second stage have yet to be revealed—the move is significant for a few reasons.

First, it solidifies what Boxoffice reported in the pages of its November issue—that 2008 is poised to be the year that a hypothetical chart of digital cinema installations goes into a steep curve toward complete conversion. AccessIT is the uncontested leader in North American deployment. Nearing 3,750 screens, the software firm and third-party integrator has digitized 10 percent of the U.S. marketplace. 10,000 more accounts for more than one-third.

Meanwhile, Digital Cinema Implementation Partners, a joint venture owned by top circuits AMC, Cinemark and Regal, is poised to pull the trigger on digitizing the 15,000 screens it represents in the first half of 2008. Technicolor Digital Cinema, another third-party integrator, expects to segue from its digital beta test to a larger deployment now that Digital Cinema Initiatives has announced a Compliance Test Plan for the integration of its technology specification. And Cinema Buying Group, a digital cinema co-op for independent exhibitors, met to discuss the responses to its Request for Proposals during ShowEast, with implementation possible as early as the first part of next year.

In 2008, digital will be coming more and more often to a theatre near you.

What’s particularly interesting to the industry about AccessIT’s announcement is that the new plan “will build on the valued relationships established with Christie USA and Doremi Labs Inc. ... while tapping into the substantial additional resources of other interested vendors.” When AccessIT Digital Cinema launched in June 2005 as Christie/AIX, the company had an exclusive agreement with its namesake projector manufacturer. Both firms deserve kudos for kick-starting the process, but the arrangement limited equipment options for exhibitors.

In my conversations with AccessIT execs over the past year or more, they’ve emphasized that Christie “has been and will continue to be a valued partner” but that the quantities of equipment that will be required for a phase-two deployment demand relationships with additional vendors. In addition, exhibitors may prefer to work with another supplier.

As a result, Barco and NEC, who, like Christie, are licensees of Texas Instruments’ DLP Cinema technology but have been shut out of the industry’s most aggressive rollout of digital cinema, may be able to join AccessIT’s deployment. And exhibitors may have the option of choosing Sony’s 4K-resolution projection system or Dolby’s 3D solution (versus Doremi-compatible Real D).

Note, however, that no additional vendors have been named yet.

Finally, AccessIT’s phase-two agreements with distributors, which use “substantially” the same virtual print fee model as in phase one, are “structured so they may be amended to international deployment as well.” The rollout of digital cinema overseas has been more challenging than in the U.S. due to more fragmented markets with less reliance on Hollywood studio product. That an international consideration has been worked into AccessIT’s phase two agreements indicates global digitization is one small step closer to being realized."

By Annlee Ellingson, Boxoffice

EDCF Guide to Digital Cinema Mastering

Olivier Amato — Thu, 08 Nov 2007 07:53:00 +0000

L'European Digital Cinema Forum (EDCF) a publié un excellent guide du mastering en cinéma numérique.