Tag Archives: AMPAS

CJ@IBC EDCF Global Update

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The EDCF annual IBC gathering is a smorgasbord of information about the latest developments in the digital cinema industry. More speakers than time, so without further ado, Dave Monk kicks it off handing over to the first speaker.

David Hancock (IHS) – “9 1/2 years I’ve been doing this slide,” Hancock said, “and in 12-18 months there won’t be the grey bar any more because analogue will be gone.” There are still a handful of territores where there is analogue (Turkey, Baltic States, Latin America). “Technlogy is now the currency driving cinema,” and that’s what he is focusing on today. Hard drives dominate still, even though some territories like Fance it only accounts for 1/3. But that’s all set to change. Most of the focus for DCP delivery today is on broadband, but that and satellite co-exist.

Ymagis takeovers of dcinex and Smartjog has created one major entity. That’s the biggest change in the last year. “The market is concentrating down to a few players,” such as Deluxe, Unique and Ymagis. “But as an exhibitor, how many suppliers do you want i your site?” Some countries have just one supplier for all sites.

Laser projection – some consumers cite lack of brightness as reason for not going to see 3D. It has not been proven to work, “but what we have now is the first generaton and not what it will be shipped to cinemas.” IHS predicts 100-200 this year and 400-500 in 2015, but mainly smaller projectors. “Laser is inectricably linked to the replacemnt [cycle] of the first generation of digital cinea projector.” Business model is needed for replacement machinery – there is no VPF for laser replacement, Hancock highlights.

Audio – “Recently the sector has re-discovered competition after a decade of lack of competition.” 1,500 screens equipped with Atmos or Auro by the end of 2014. But there is now focus on the home evironment, as well as markets such as automotive (cars). Where does it all lead, ancock asks. Premium cinema, particularly large format, is the answere Hancock notes. “Technology pushes the premium experience,” he observes. 1.,401 PLF screens 1h 2014 with IMAX capturing 45%. Conclusion: may you live in interesting times.

There is a tension between technology and cinema. “The cycle of technology does not match the technology of cinema.” Last observation particularly interesting: “physical decline [DVD etc.] ups cinema in Europe: the value chain increasingly underpinned by cinema.”

John Hurst (Cinecert) – First slide asks ‘Is Ten Years Too Long’ but his topic is the state of [digital cinema] equipment in the field. It looks like cinemas here in Europe are better maintained than cinemas in US in temrs of receiving SMPTE DCPs. You have to keep your software up to daye in your digital cinema server to take advantage of all new features – not just bells-and-whistles ad-ons.

He then calls Rich Philips from Arts Alliance (AAM) up to stage. AAM have spun off most of their digital cinema business, but they still have the digital cinema software technology. The message from Richard is that verisoning is not too bad in Eurpe, but that education is an issue, with most exhibitors clueless that there is another hurdle that needs to be jumped through. “That’s all I have to sya really.”

Chris Witham (Disney) is then called to stage by Hurst. He jams through it in two minutes. “For people to keep coming back to cinemas, we have to offer the best experience possible.” He then discusses Disney’s transition plan to SMPE DCPs with 2015 the target date.

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AMPAS and BAFTA Get On The Tribute Poster Bandwagon

Lincoln Tribute Poster

Ever since they first started appearing back in the mid-2000′s, I’ve been a big fan of what has come to be known as “tribute posters”. The trend seems to have been started by the Mondo Gallery in Austin Texas, a subsidiary of Alamo Drafthouse, the independent spirited cinema chain based in the same city.

Mondo commissions graphic artists and illustrators to create posters for movies both old and new film releases. Artists such as Martin Ansin, Shepard Fairy, Tyler Stout and my favorite Olly Moss create highly stylized one sheets for classics such as “Repo Man“, “Back to the Future” and “Psycho”, as well as new releases such as “The Cabin in the Woods” (done in an Escher style), “Looper” and “The Dark Knight Rises“.

Mondo came up with the idea of re-crafting movie posters back in 2005 when Alamo Drafthouse needed artwork to promote its “Rolling Roadshow“, one-off screenings of movies in the locations where they are actually set. For instance, “Escape From Alcatraz” was shown on Alcatraz Island in San Francisco.

From those beginnings the business has grown to such an extent that Mondo now has the rights from LucasFilm to re-imagine all the “Star Wars” posters. When their limited edition posters go on sale they usually sell out within minutes. (It’s easier to score tickets to a Justin Bieber concert via Ticketmaster). Then in 2011 the Academy of Motion Picture Arts and Sciences partnered with Mondo to archive the company’s artwork in the Margaret Herrick Library.

Now the Academy is taking a page out of Mondo’s book and producing their own batch of tribute posters for this year’s Best Picture Oscar nominees. They’ve hired a bunch of up-and-coming artists from around the world to create each poster; Matt Owen (“Amour”), Anthony Petrie (“Argo”), Rich Kelly (“Beasts of the Southern Wild”), Mark Englert (“Django Unchained”), Phantom City Creative (“Les Misérables”), Tom Whalen (“Life of Pi”), Jeff Boyes (“Lincoln”), Joshua Budich (“Silver Linings Playbook”) and Godmachine (“Zero Dark Thirty”).

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Digital Faces Critical (Archiving) Dilemma

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“The Digital Dilemma”—a 2007 report from AMPAS’ SciTech Council that examines the challenges of archiving and accessing digital motion picture materials—was the subject of the SMPTE’s Hollywood Section May meeting, held at the Academy’s Linwood Dunn Theatre in Hollywood.

The report concludes that there is no long-term strategy for archiving and preserving digital assets that doesn’t require large capital investment.

Andy Maltz, director of the SciTech Council, reported that in 2008 the worldwide box office reached $20 billion, but he estimated that only 0.0015% of that amount was spent on addressing this dilemma. He emphasized that much more needs to be done.

During the evening, Maltz presented an overview of the report and an update on its impact since its release. He generated applause and laughter from an audience that has been inundated with 3D format talk when—in outlining the discussion objectives—he quipped “there will be nothing about stereoscopic movies tonight.”

Actually, he wasn’t entirely correct. He addressed AMPAS’ need to preserve digital content, citing as an example the increasing number of 3D titles that originate from and are/will be released in the digital realm. He also cited the ASC/DCI Standard Evaluation Material (Stem) and all Oscar-nominated films, which are archived by the Academy.

“Current technologies and practices are inadequate,” he said. “Periodically you will need to copy the digital media. Storage technology and operating technology will become obsolete.”

As to current investment, the report suggested that it costs $1,059 to preserve one film archival master for one year. In contrast, it estimated that annual cost of preserving a 4K digital master to be $12,514.

The SciTech Council is now working on what it calls a Digital Motion Picture Archival Framework, which would include the development and standardization of a file format, directed research, education and a follow up report on “The Digital Dilemma” for indie filmmakers and executives at public archives.

A very worthwhile read, “The Digital Dilemma” report can be downloaded from the AMPAS web site (here).