Tag Archives: Dolby

Cinema Expo Thoughts: C.J. Flynn of DCinemaTools.com

July 10, 2010

We continue our series of posts featuring the comments of leading industry members about last month’s Cinema Expo with a robust entry from C.J. Flynn of DCinemaTools.com.

Theatre owners thinking about converting to digital cinema (or even those who already have) should swing by Flynn’s website for detailed information about long-term operation and maintenance of d-cinema equipment.

In the meantime, here’s what Flynn had to say about Cinema Expo:

C.J. Flynn of DCinemaTools.com

As usual, the most interesting parts for me at this year’s Cinema Expo were the the sporadic 15 minutes of hanging out with people of similar ilk, trying to stretch nuance and rumors thin enough to see a bit of truth through them. Reviewing them in my head, they seem to mostly to have centered on big-company finance and politics.

From a helicopter view, projectors and servers continue their momentum into being commodity items. This leaves some breathing room for other portions of the infrastructure. Audio systems have made inroads into the “Enhanced Experience” cinemas, which is a good sign, and hopefully one that will continue.

Unfortunately, it isn’t a “Build It and They Will Come” issue for the new Audio Processor offerings of QSC, Datasat and DMS Cinema. But it is good to see that they are incorporating fresh ideas like the Trinnov (DMS), Dirac (Datasat) and the systemic approach of QSC (plus Meyer, though their system is post AP.) I guess the common theme is getting feedback from the speakers to the processor… good feedback, that is, bringing quality assurance to those who care.

Dolby, to their credit, was casually elegant about the whole matter; they presented their 12.1 system with a work-in-process/got-any-ideas-for-us motif, letting the 7.1 take on the luster of a future standard-in-the-making that only costs $300 if you upgrade now (and politely reminding about the $700 amplifier that might need to be added to the system).

Posted in Events, Trade Shows

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Datasat’s AP20 Goes Global With 7.1 Surround Sound

By J. Sperling Reich

June 25, 2010

Datasat's AP20 Audio Processor

It is a very rare occasion when I have any personal involvement, however small, in one of the many press releases that make their way to my inbox. This past week was one such occasion when two announcements arrived from an old employer, Datasat Digital Entertainment (formerly DTS Digital Cinema). Both press releases pertained to the company’s new cinema audio processor, the AP20.

While still at Datasat I was tasked with product management for the next generation of their cinema audio processor. The XD10P, which was the complementary audio processor for the XD10 Cinema Media Player, was nearing end-of-life and parts to manufacture it were increasingly getting hard to come by. Besides, Datasat wanted an audio processor that would be capable of handling the more technical demands of digital cinema and other pro-audio applications.

After a great deal of market research and engineering work, the AP20 Audio Processor was developed. The processor can handle digital audio from both eight channel 35mm film prints and 16 channel digital cinema content. It has a touch screen interface, Dirac Live room tuning, more digital signal processing power than anyone could ever ask for and enough input/output jacks to make the crankiest of theatre techs happy. Even the three expansion slots made the final cut allowing for additional channels or the integration of emerging technologies.

I was quite proud that the initial functional requirements we put together for the processor wound up actually getting built. However, I left Datasat shortly after the product launched and once outside the company I could never really be certain how successful the processor was in the market.

The AP20 Around The World
Any concerns I may have had completely vanished this past week upon being told all Datasat’s sales projections were being “comfortably” met. In fact, one of Datasat’s releases boasted that the West African theatre chain Au Cinema Ce Soir chose the processor for their digital cinema screens, including their flagship cinema, Théatre National Daniel Sorano in Dakar.

Posted in Equipment Vendors

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Panavision Officially Enters 3D Market

By J. Sperling Reich

June 17, 2010

Panavision continues to modify its 3D glasses

Earlier this week Panavision took their first public steps into the 3D motion picture exhibition market by announcing a new system that will work with all projectors, film or digital, and all screens, white or silver. While we had already reported that Panavision was working on such a solution, this was their first official statement about the product. The company, primarily known for high end motion picture camera systems, will demonstrate the system next week at Cine Expo in Amsterdam on a screen 56 feet wide (17 meters).

Last Tuesday Panavision invited the press to their offices in Woodland Hills to see the 3D system in action. We were greeted by John Galt, Panavision’s Senior Vice President of Advanced Digital Imaging, Eric Rodli, Senior Vice President of Panavision and Bill Bevins, President and CEO of Panavision. They explained all the technical specifications about the system as well as some of the business details pertaining to its marketing.

First let’s quickly review some of tech bullets all of which are the same as they were back in March when we first saw a demo:

The system uses spectral comb filtering, not polarization, to separate the visible light spectrum into ten band of even and odd wavelengths of light. One set of bands is presented to the left eye, the other set to the right eye.

Dichroic passive glasses allow the viewer to view distinct images in each eye. Though the image reaching each eye is actually different, the viewer’s brain puts the images together providing the sensation of seeing a full color spectrum.

No ghost busting, color correction or image processing is required.

Film-based 3D uses an over/under method. Each frame of film contains two images, stacked on top of one another, two perforations high. The system will use the same film prints made for Technicolor’s 3D system. A specially designed split lens mounted on the front of the projector combines the images on screen.

Digital 3D being shown on a DLP projector employs a split filter wheel placed before the integrator and in front of the lamp house that rotates at 4320 RPM to provide 144 flashes per second. For Sony’s SXRD projectors a specially designed split lens will be used to separate two stacked images from the 4K chip.

The system will work with any digital projector on the market today.

Panavision worked with Omega Optical to develop the product.

Posted in Digital 3D, Equipment Vendors

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Panavision Heads Into Theatres With Hybrid 3D System

By J. Sperling Reich

March 14, 2010

When one thinks of Panavision, what immediately comes to mind is all of the motion picture camera systems they have manufactured since the mid-1950s, ubiquitous on the sets of countless hit movies and television shows. The thought of 3D, be it digital or on 35mm, is probably the last thing any industry professional would ever associate with Panavision. Well, that’s all about to change and I’ll explain why.

On Friday of last week, the European Digital Cinema Forum (EDCF) was kind enough to let me tag along on their annual pre-ShoWest industry tour through Los Angeles. When we arrived at Panavision I was a little baffled why a group of exhibitors and digital cinema manufacturers would want to visit a company better known for what happens on a movie set rather than a movie theatre. After a quick tour of their Woodland Hills, California facility, the group was ushered into a screening room and it became immediately obvious why were there.

We were greeted by John Galt, Panavision’s Senior Vice President of Advanced Digital Imaging, who gave us a very brief PowerPoint presentation on a project he’d been working on since the middle of 2008. Turns out while the media was busy hounding Panavision with stories about how labor strikes and production slowdowns had adversely affected the company, they have quietly been working on a 3D system for both film and digital projection. That would explain the reusable 3D glasses we were handed.

Posted in Digital 3D

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Daily Cinema Roundup-Thursday 27 May

By Carolyn Giardina

May 28, 2009

–With his contract recently extended until 2013 and “Monsters Vs. Aliens” one of the year’s top grossing films so far, DreamWorks Animation CEO Jeffrey Katzenberg has now revealed plans to release five feature films every two years, adding an additional film every other year to its existing two picture a year release schedule.
With today’s news, DWA’s release slate through 2012 now includes eight feature films, including five original films and three sequels based on the company’s existing franchises, Shrek, Madagascar and Kung Fu Panda. And as previously announced, all DWA features will be produced in 3D.
This commitment to 3D content should come as good news for stakeholders, but it could also mean added pressure on theater owners to install digital cinema and 3D capabilities, as well as on those working to advance 3D for the home market.

DWA’s schedule includes:
–“How to Train Your Dragon,” based on the book by Cressida Cowell, will be released on March 26, 2010. It will star a cast that includes Jay Baruchel, Gerard Butler, America Ferrera, Jonah Hill and Christopher Mintz-Plasse.
–“Shrek Forever After” will be released on May 21, 2010. It features the original cast, including Mike Myers, Eddie Murphy, Cameron Diaz and Antonio Banderas.
–“Oobermind” (formerly “Master Mind”) will be released on November 5, 2010. It will star Robert Downey Jr. and Tina Fey.
–“Kung Fu Panda: The Kaboom of Doom” will be released on June 3, 2011. Returning is a voice cast that includes Jack Black, Angelina Jolie, Dustin Hoffman, Jackie Chan, Seth Rogen, Lucy Liu and David Cross.
–“The Guardians” (working title), based on the forthcoming books by William Joyce, will be released on November 4, 2011.
–“Puss In Boots” (working title) will be released on March 30, 2012 and star Antonio Banderas as Puss In Boots and Salma Hayek as Kitty, Puss’ love interest.
–The next Madagascar sequel is due to be released on May 25, 2012. It will find the zoo animals continuing to get back to New York. This time the road takes them through Europe.
–On Nov. 2, 2012, DWA plans to release one of three original projects currently in pre-production at the studio.

–There is more on this news announcement in a Reuters article, reporting that Katzenberg spoke yesterday at the Cowen and Co. Technology and Media and Telecom Conference and predicted that he could get its production budgets down to $130 million (including 3D) for the 2011 films. (“Monsters Vs. Aliens” was estimated to cost $175 million.) The Reuters article also said that Katzenberg expects a positive shift it distribution costs, come 2012 when DWA’s distribution contract with Paramount expires.

–In related box office news, at press time DWA’s debut 3D title “Monsters Vs. Aliens” is just shy of an impressive $194 million in the domestic box office—the highest grossing digital 3D release to date. It had also been the biggest money maker of the year so far, but today it was just passed by the Starship Enterprise. “Star Trek” reached $194.8 million. “Monsters” will surrender the majority of 3D screens this weekend to Disney/Pixar’s “Up.”

–Dolby announced new 3D installations this week: The Empire Leicester Square in London has become Europe’s first auditorium to use the new Dolby 3D Digital Cinema large screen system.
The company reported that the new Dolby 3D large screen solution combined with Barco’s digital cinema twin-projector allows exhibitors to project Dolby 3D onto standard, non-silver screens ranging from 12.5 to 21 metres, surpassing the previous size limit of 12 metres. The Empire Leicester Square, one of the UK’s oldest and largest cinema venues, offers a 20-metre screen.
In related news, Dolby reported that Sundance Kabuki Cinemas in San Francisco has installed Dolby 3D Digital Cinema in its 160-seat auditorium, in time for Disney/Pixar’s “Up” opening.

–Universal Studios Home Entertainment will release director Henry Selick’s stop-motion animated feature “Coraline” on Blu-ray Hi-Def combo pack, 2-Disc Collector’s Edition DVD and single disc DVD on July 21.
All editions feature both the 2-D and 3-D versions of the film and four pairs of 3-D glasses, making “Coraline” the next 3D home release to watch. In theatres, digital 3D release “Coraline” made $75. 2 million in North America and $85.2 million worldwide.

Posted in Box Office, Business, Digital 3D, Equipment Vendors

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Disney Promotes 3D with Inflatable Theater

By Carolyn Giardina

May 25, 2009

Disney's 'A Christmas Carol' Train Tour You’ve got to hand it to Disney for creating another innovative way to promote 3D.
To raise awareness of the format and the studio’s upcoming stereoscopic release “A Christmas Carol,” Disney has put together a 40-city promotional tour that will travel by train.
As part of the exhibition, at each stop Disney will put up an inflatable 3D theater that was specially developed for the tour with technology suppliers Dolby and Barco. The 50x 50 ft. theater stands 25 ft. high and can be erected in less than six hours, execs said.
Disney's 'A Christmas Carol' Train Tour The theater uses the Dolby 3D system, and its gear includes two Barco DP2000 digital projectors, Dolby servers and a Dolby sound system. There is freestanding 18 by 17½ ft. screen and seating for 125.
Here, guests preview 3D clips from Robert Zemeckis’ “A Christmas Carol,” which opens Nov. 6.
The clever theater design will no doubt have plenty of additional applications.
The “Christmas Carol Train Tour” opened over Memorial Day weekend at Los Angeles’ Union Station and wraps the weekend of Oct. 30 in New York. The tour schedule can be found here

Posted in Digital 3D, Marketing & Promotions

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Who Does Regal Love More - RealD or Imax?

By Patrick von Sychowski

May 11, 2009

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

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

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

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

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

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

Matthew Harrigan - Wunderlich Securities - Analyst

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

Michael Campbell - Regal Entertainment Group - Chairman and CEO

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

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

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

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

Posted in Digital 3D

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Daily Cinema Roundup - Wednesday 6 May

By Patrick von Sychowski

May 6, 2009

- Irish cinema advertisisers want to point out that you can’t fast forward through a cinema ad, the way you can with your PVR/DVR at home. From Ireland’s Independent.ie “The FAME research also debunks the widely-held myth about cinema advertising being only relevant to youth brands by showing that over half of cinema audiences are the grocery shoppers for their household. The study, carried out by research firm Milward Brown IMS, comes after the most recent ticket sales figures charted an 8pc rise for February as recession-inspired escapism takes hold.” Interestingly the company behind it still calls itself CarltonScreen, despite its UK parent company changing name to Digital Screen Media some time ago;

- AMC has spent $25m doing up its flagship multiplex in Kansas City, opening just in time to set the tills ringing to the growls of “X-Men Origins: Wolverine”. From Bizjournal.com, “The renovated theater has three auditoriums featuring Cinema Suites, an upscale in-theater dining and entertainment option; three traditional auditoriums; and The Marquee Bar & Grill. All six auditoriums use digital technology,part of an initiative announced Oct. 1to roll out digital projection systems at nearly 20,000 movie theater screens in North America.” So it looks like all new AMC screens and all renovated ones will get priority in installing the SXRD 4K projectors from Sony. However, the Cinema Suites concept (see above) intrigues us more - Dorothy, let’s go to Kansas City:

- The transcript of the most recent Dolby Quarterly earning conference call is now posted, thanks to Seeking Alpha. Interesting digital nugget, “In our cinema market, we have shipped more than 2,500 Dolby Digital Cinema Servers and 1,000 Dolby 3D systems across 41 countries to date. And in the second quarter, we delivered on our obligation to make these systems compliant with DCI specifications. As a result, we recognized approximately $24 million in deferred revenue related to Digital Cinema in the second quarter.” No speculation that the Hollywood studios abandoning subsidizing disposable 3D glasses might drive exhibitors to Dolby - but it is highly likely;

- Regal Cinemas is upgrading its multiplex in Charlottsville, and not surprisingly 3D is at the centre of the refurb. From DailyProgress.com we learn that, “The company said it intends to add five new screens, digital projection, stadium seating in every auditorium, new high-back recliner seats, a new lobby, a new entrance, new restrooms and more.” and, “The expansion will add several amenities, including digital surround sound, a new concession stand designed for faster service, a guest service desk in the lobby, kiosks for automated ticket purchasing and “Real D 3D” projection systems for better 3D movie experiences.” ‘Better’ than what? Damningly a reader comments, “It always amazed me how the people of Charlottesville are so willing to pay New York City ticket prices for what can only be described as a Hooterville movie theater experience. Sometimes it seems like we just got “talkies.““;

- The cinema might not open in time for its patrond to enjoy the Free Family Film Festival 2009 scheme. From the press release, “During this 9-week festival, more than 300 Regal Cinemas, United Artists and Edwards Theatres offer selected G and PG rated movies for free on Tuesday and Wednesday mornings at 10am.” How will Regal make money? That’s right - “there is a special “Kids Reel Meal” combo pack available.” at the concession stand. (Ah, but will it include healthy snack options?) The scheme has been running since 1991 and Regal also “sponsor the Boys & Girls Clubs of America “Mornings at the Movies” program.” I still have my ‘Snuck Into R-movie at 13′ badge from the scouts;

- But being hip to the way of the kids in the 21st century, Regal is also down with the whole social networking thing, we learn from a second press release. “Regal invites moviegoers to join them online to enter a special MyRegal Sweepstakes connected to their MySpace page. Regal will be further expanding programs on Facebook and Twitter throughout the month of May. ” There is an on-line sweepstake and Regal apparently has the world’s largest cinema loyalty program with 14m members. Now let’s see how many ‘friends’ and ‘followers’ they can get. Bet they won’t beat Ashton Kutcher just yet;

- ShowCanada wrapped last week and though Co-Editor Sperling was there and reported that there wasn’t much to report, THR.com tells us that the Canadians are a head of their US cousins when it comes to digital 3D. “As talk of 3-D technology dominated the last day of the annual gathering of Canadian theater owners, Fithian said that 130 of the 222 existing digital screens in Canada already have 3-D capabilities. And while there are currently 2,030 3-D-capable screens stateside, Canada represents 10% of what is considered the domestic cinema market, which puts it in step with the 3-D rollout south of the border.” While Fithian understandably biggs up Canada in this space, he is not correct about US/Canada leading as UK will be ahead of both when it comes to proportion of 3D installs by the end of 2009, as Katzenberg noted at ShoWest. Sperling also got to watch the ‘Star Trek’ movie ahead of the rest of us, but we’re not jealous, no;

- Indian classical music concert screened in digital in the Gulf is surely proof that alternative content is going global. From the Gulf Times, “Sreeram’s camera captured every expression of the artiste, the intense absorption of Jayashri in her rendition and the emotive expressions and body language of Krishna, including his intermittent appreciation for his fellow artistes. The 110-minute concert movie was produced by C Srikanth of Aghal Films in association with Real Image Media Technologies, India’s leading provider of technology in the film, video and audio domains.” The original event had been captured with the ubiquitous RED camera. Next up we hope they record an AR Rahman concert - Jai ho!;

- European film major StudioCanal is getting behind both digital 3D (content) and digital cinema (installations). From Variety we learn that “StudioCanal is also part of a digital 3-D work group set up by French distributors, exhibitors, third-party 3-D facilitators and the Centre National de la Cinematographie, the government org that regulates and promotes the film and TV industry. The group aims to establish a fund subsidizing the digital conversion of cinemas in France. The fund could be up and running by the end of the year, said a government spokesman. “StudioCanal’s ready to help pay for conversion,” Courson added. “We just need to establish the level of support from French film authorities.”” It makes sense that if SC is producing 3D movies they will also want to help create a theatrical 3D market for them - but this being France, they are more likely to want to push the French government to pay up the Euros for it;

- Staying in France and continuing the long tradition of Americans invading the Croisette in May, Christie will be providing the digital projectors for this year’s Cannes Film Festival again. From LSI Online. “Christie reports that it has been appointed by XDC for the third year running as the supplier of digital cinema projection solutions at the 62nd Cannes Film Festival, 13-24 May 2009. This includes the opening 3-D screening of Up, the new Pixar/Disney animated comedy adventure.” OK, so they are technically Canadians - though not from Quebec - but still a nice feather in their cap to screen the first digital 3D film in competition;

- Despite the good year at the box office, not all exhibitors are swimming in money, as proven by the Q1 results of US digital cinema pioneer Carmike. Despite revenue rising almost five percent Bizjournal tells us, “The Columbus Ga.-based cinema owner and operator (NASDAQ: CKEC) had a net loss of $4 million and a loss per share of 32 cents, compared with a net loss of $4.3 million and a loss of 34 cents a share in the first quarter of 2008.” However, “The results for the first quarter of 2009 included a one-time $5.5 million charge related to its former CEO separation agreement.” Read that again. A cool $5m+ is what it took to remove CEO Michael Patrick for having delivered a spectacular loss of $127m in 2007 (2008 wasn’t that great either). That will buy him a lot of tickets, popcorn and soda to console himself at having been removed from the cinema chain his father acquired in 1982 and was named after him and his brother Carl. Mike, who will continue to enjoy receive medical benefits and group life insurance coverage until Jan. 31, 2012, also helped to drag down the share price from $26 to less than the price of a cinema ticket - just $3. Reward for failure - why should banks and auto makers have a monopoly on it?

Posted in Daily News Roundup

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Daily Cinema Roundup - Fri 24 April

By Patrick von Sychowski

April 24, 2009

- Imax’s presence in China is expanding through a new deal, according to THR.com’s Asia edition. “Imax on Thursday signed a deal with China Film Group to open a super-size screen in a new multiplex in Tianjin, China, this October. The deal brings to 41 the number of screens Imax expects to have by 2012 in China, its second-largest market after the U.S.” We also note and congratulate our friends and colleague Patrick Frater, who has joined THR Asia, thus completing the hat trick of working for Screen, Variety and now THR, having done stellar work at them all;

- Projector makes Christie has given details about its digital cinema NOC (network operation centre). The press release gives some impressive stats, “Christie Managed Services currently provides round-the-clock monitoring of 32,431 devices, including 3,780 digital cinema screens and 4,700 pre-show advertising screens in over 830 sites across North America. It is staffed with over 180 remote and customer service personnel and field technicians.” Make sure you visit it if you ever pass through Cyprus, CA. Any time. We hear its open 24/7;

- The first European live 3D broadcast over satellite went out to multi locations across Italy on April 19th, showing a of a complete basketball game. This was part of an announcement at NAB about the coming together of several stereoscopic distribution pioneers, “International Datacasting Corp and Sensio Technologies announced today the beginning of their first operational roll-out of live 3D in high definition for digital cinema in Europe” and “OpenSky has formed the 3D Stereoscopic group (3DSG), a partnership with dBW Communication and Eutelsat for the end-to-end production and distribution of 3D live events across Europe.” Expect to see more in the coming year;

- On an adjacent frequency, Dolby has formed a partnership with Arqiva to deliver alternative content across Europe, according to today’s press release. “Dolby Laboratories today launched Dolby Direct Distribution Services—a pan-European satellite content delivery network for digital cinemas. The service is provided in association with leading digital network solutions provider Arqiva and uses their international satellite infrastructure to distribute feature movies, trailers, and advertising content direct to their participating exhibitors and cinemas throughout Europe.” The interesting question is whether they will open up this network wider and be a service provider, rather than equipment vendor;

- Sony does deal with Sony for digital cinema in Asia, is the essence of this press release. “Sony Pictures Releasing International Corporation (SPRI) has entered into an agreement with Sony Electronics’ Digital Cinema Solutions and Services (DCSS) group for 4K DCI-compliant digital cinema deployments in Hong Kong, Japan, Korea, Singapore and Taiwan.” But trust us, even a seemingly semi-internal agreement like this is much more difficult to orchestrate than you might think. Now the challenge will be to get more Hollywood studios to sign up. And why no India?;

- UK’s Cinema Exhibitor’s Association (CEA) is kicking off a digital road-show this coming Monday in Manchester. “The events, which the CEA is running jointly with the UK Film Council and with the support of Screen Digest, are intended to give all of those attending an opportunity to hear a comprehensive and objective summary of the challenges and opportunities presented by digital cinema projection, with discussion of funding, operational and technical matters.” It is 8 1/2 years since the last major road show in UK (‘Celluloid or Silicon?‘) that discussed the implications of all things digital cinema. [insert joke about digital cinema's long time in the coming HERE];

- Want to sell liquor for consumption with screenings of operas and sporting events in your cinema? It’s not as easy as you might think, according to this article from Grand Rapids News. “Celebration Cinema owner John Loeks Jr. must spell out the type of “special events” at which he wants to serve alcohol before city planners will allow him to uncork any bottles or tap any kegs.” Asked to define ’special events, Loeks told the commission, “I’m not sure there is a precise definition.” So much for grouping it together under the moniker of ODS (other digital stuff);

- And yet more proof if needed that box office is doing well across the globe, this time from China, courtesy of AFP. “China may be a paradise for addicts of pirated DVDs, but the box office is also booming thanks to a growing audience of well-off young urbanites and more big-ticket Chinese films… “The crisis is actually a godsend because as everyone talks about the economic crisis, people want to go to the cinema to relax,” said Zhao Jing, a Beijing marketing executive with cinema operators Wanda Group.” Wanda (pictured above) is expanding from 40 cinemas to 100 by 2010. As noted in the article, a pirate DVD may cost one tenth of a cinema ticket, but it just does not give the same EXPERIENCE;

- Only India appears to be suffering badly, with the non-release of new Hindi films entering its fourth week. A journalist from Indian Express took a tour of the deserted cinema halls and chats to employees. It’s grim. ““We’ve closed down one screen for renovation and are on a cost-cutting spree. We’ve switched to low voltage bulbs and keep half the lobby lights switched off. The air-conditioning too is not switched on till before the show.”” Not even any major Hollywood films are opening this weekend (unless you count “My Mom’s New Boyfriend“). Soon weevils will start blowing through the corridors;

- But it’s even worse for one Indian exhibitor. “Sebi on Thursday barred Pyramid Saimira Theatre promoters Nirmal N Kotecha and CMD PS Saminathan from trading in the equities market, accusing the latter of allegedly forging a letter from the markets regulator, the revelation of whose contents last December sent the company’s stock price soaring. The Sebi letter had purportedly asked the promoters to make an open offer to buy out minority shareholders.” Ouch, but the Securities & Exchanges Board of India (SEBI) can come down hard at times;

- Ending on a semi-positive note, at least if you are living in Detroit. ‘Unemployed? Movie theaters offer free tickets.‘ The headline says it all.

Posted in Miscellaneous

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Battle Brews Over 3D Glasses In Europe

By J. Sperling Reich

March 26, 2009

RealD's Disposable 3D Glasses

Late last week I picked up on a rumor that was circulating about European exhibitors. Apparently, they are rejecting digital 3D versions of DreamWorks Animation’s “Monsters vs. Aliens” in lieu of 2D digital and 35mm prints as a response to being told that distributors will not pick up the tab for 3D glasses. The film opens internationally on March 27th.

Disposable polarized 3D glasses cost between 50 and 99 cents (USD) and are required to view digital 3D movies shown using systems manufactured by RealD and Masterimage. “Active glasses”, which operate using LCD lenses that flicker open and closed at the shutter rate of the projector, are reusable and cost upwards of USD $$25 to $30. Such glasses are necessary to view 3D films shown using XpanD technology. Reusable glasses for Dolby’s color wheel system cost USD $23. More than likely the dispute is over disposable glasses rather than reusable glasses since it is generally accepted that the exhibitor will be responsible for the latter.

In North America it has become a somewhat common practice for the distributor of a 3D film to pay for disposable glasses in part or entirely. This may not last however since distribution chiefs such as Mark Christiansen of Paramount Pictures have said they are determining whether they will be reimbursing an exhibitor for the cost of disposable glasses on a film by film basis.

The theatre owners that reported the unofficial boycott of “Monsters vs. Aliens” in 3D were from the Netherlands, the United Kingdom and a few Scandinavian countries. Equipment manufacturers and the few dealers I spoke with confirmed the story, and were somewhat frustrated as they believe such issues will hold up the rollout of digital cinema in Europe. Read More »

Posted in Countries, Digital 3D

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