Tag Archives: NCM Fathom

Fathom Brings Los Angeles Philharmonic To Cinemas

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After turning the New York Metropolitan Opera into a poster child for alternative content over the past five years, NCM Fathom is hoping to have the same success with the Los Angeles Philharmonic. Starting in January of next year Fathom will broadcast three L.A. Phil performances to upwards of 450 theatres throughout North America.

Each concert will be broadcast on Sunday afternoons when attendance at many cinemas is presumably lower than it is on Friday and Saturday evenings. It should be noted however, that the 2:00 pm start time on the west coast may actually eat into primetime showings on the east coast where it is three hours earlier later.

The first concert is set for January 9, 2011 and will feature compositions by John Adams and Leonard Bernstein, as well as Beethoven’s Symphony No. 7. Selections from Tchaikovsky’s Shakespearean work will be presented on March 13, 2011 with the final concert on June 5, 2011 highlighting Brahms’ Symphony No. 4 and Double Concerto. Each program will be conducted by the L.A. Phil’s Music Director Gustavo Dudamel.

Dudamel is the 29-year-old Venezuelan conducting prodigy is often hailed as a rock star of sorts in the classical music world. His image has been plastered around Los Angeles ever since he took over as the L.A. Phil’s music director in September of 2009. No doubt it is Dudamel’s charismatic and energetic presence was a factor in the L.A. Phil’s decision to broadcast the concerts.

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Goooaal! Cinedigm Scores With 3D FIFA World Cup Final

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This past Sunday Cinedigm, a leading North American digital cinema deployment entity, achieved another live event milestone and I was there to witness it first hand. As we reported back in June, Cinedigm partnered with Sensio Technologies to bring the FIFA World Cup Final live and in 3D to theatres throughout the United States and Canada.

Event Details
At the time there was some uncertainty as to how many theatres were to show the FIFA World Cup matches and where they would be located. In total 25 FIFA World Cup matches were shown live in 3D at 475 venues in 33 different countries accounting for 4,500 screenings.

Cinedigm was given permission directly from FIFA to show the matches at 15 locations and theatres in Arizona, California, Florida, New Jersey, New Mexico, New York, Ontario Texas and Virginia were selected. Another 15 locations were allocated to NCM Fathom.

Originally Cinedigm intended to show both the semi-final matches as well as the championship game, which pitted Spain against The Netherlands. Instead they chose to hold screenings only for Sunday’s final in order to have one marquee event. The feed for the event was supplied by ESPN, which was capturing the match in 3D for its new 3D network.

From what I was told ESPN wasn’t too pleased about the final being broadcast in cinemas.

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Popularity: 4% [?]

Heavy Metal Heavy Weights Hit The Big Screen

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If you’re into heavy metal music then you’ll be happy to hear that some of the world’s biggest head banging bands will be playing live at a theatre near you. On Tuesday, June 22nd, Metallica, Slayer, Megadeth and Anthrax, otherwise known as the Big Four of heavy metal music, will be sharing the stage at the Sonisphere Festival in Sofia, Bulgaria and will broadcast their concert in high-definition to cinemas in 40 countries.

New York based By Experience is the company producing the event which as been dubbed The Big Four. In press announcements promoting the concerts Metallica’s outspoken drummer Lars Ulrich talked about what he felt was a historic moment in rock music:

“Who would have thought that more than 25 years after its inception, thrash metal’s big four would not only still be around and more popular than ever, but will now play together for the first time.”

The live cinema event will be four hours long, which on a Tuesday night shouldn’t pose a problem for most theatres showing the broadcast. In the United States, NCM Fathom is distributing the concert which will be shown in theatres not only on June 22nd, but also at an encore performance on June 24th in specific locations. Tickets are already on sale for USD $18 at a list of theatres eight pages long.

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Popularity: 13% [?]

Front Row Report: Beer Wars – A Live NCM World Premier

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This report just in from our friend and colleague Jerry Pierce:

Beer Wars – A Live NCM World Premier
Jerry Pierce April 17, 2009
National Cinemedia (NCM) that runs “Fathom” a “live” to the theater network for single play events. They have Concerts, The Met, Performing Arts, Anime, etc. Cinemedia’s main business is advertising for many theaters. But Fathom seems to be their new baby – below is the list of upcoming shows.
Enjoy one of our upcoming shows
MET – The Audition April 19, 2009
So I decided to attend the “World Premier” of “Beer Wars” held last night. (Never mind that I am getting involved in Beer Making … that’s a different story.) I attended a CineMark Theater in Northern California at 8 pm. Well, first off it was not LIVE, it was delayed. Not that it would matter much, but if you are attending a live broadcast it should appear to be live. The theater was the same one that housed “Monsters vs Aliens.” Seemed right, the rest of the screens at this location are still film.
So they got a late start – seems the DVR recording of the show didn’t work right and they had technical difficulty – did I mention it was supposed to give the IMPRESSION of being live? Funny seeing the EchoStar’s DVR interface on a 50 foot screen.
They the show finally started. They did not use the big projector! It was the little NCM advertising projector. Not a bad image, but the masking was set for 1.85 and the broadcast was 16:9 (1.77) so the top/bottom was cut off – not even in safe title – many of the titles got lost in the bottom masking. The projector was dim – but not bad. The contrast ratio was muddy to say the least. I mean really, who needs black? I was pleased that the silver screen did not have a noticeable hot spot, then again maybe you can’t have a hot spot with a dim projector (not).
They did show a live question/answer session with the film makers after the show. It was clear the LA premier was sparsely attended and there were about 50 people in my 500 seat theater. Lots of space to spread out. They charged $15 which was a $5 up fee from their normal presentation charge. Did not look like a money maker to me.
Finally, the presentation crashed at the end. Another 50 foot error screen with audio continuing in the background. I didn’t ask for my money back, but if this is their idea of a live, quality event – they had better go back to the drawing board and re-think the experience.
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Jerry Pierce

Popularity: 13% [?]

Financials of Met Simulcasts Revealed

It’s no secret that with the success of the Metropolitan Opera’s high definition simulcasts into movie theatres, first rate opera companies around the world have jumped on the alternative content bandwagon and struck deals to have their performances beamed to cinemas around the world. The San Francisco Opera recently announced a deal with Bigger Picture to broadcast certain performances to theatres and Emerging Pictures struck a deal to simulcast selected performances from La Scala to theatres in the United States.

Peter GelbThough the Met’s simulcasts had been seen by many in the exhibition industry as successful based on the sold out screenings, little was known about how much money was really being made, or lost, on the venture. That is until now.

In an Associated Press story which hit the wire on January 28th, the Met’s general manager, Peter Gelb, stated that each simulcast is costing around USD $1 million which includes the cost of satellite feeds, crew and equipment. Of course, on top of that the Met has to produce each opera production at upwards of USD $3 million. Gelb reports that by including revenues from anicllary sources such as DVD sales, the Met is hoping to “break even” on the HD simulcasts by the end of 2008.

What Gelb is not entirely clear about is whether the Met pays NCM Fathom a fee for each simulcast. A little known fact in the exhibition industry is that Fathom charges those broadcasting events into the theaters that are a part of their network. Some who have approached Fathom hoping to broadcast similar events report the company asks for a minimum of USD $100,000 up front. Fathom claims this is a promotional fee to help advertise the event in theaters during NCM’s preshow spots. Those broadcasting the event can collect a portion of the box office to help recoup their cost.

Whether the Met has to pay Fathom or not, their HD simulcasts are proving to be a huge hit at the box office. Their presentation of Charles Gounod’s “Romeo and Juliet” made USD $1.65 million during the weekend it was broadcast giving it an 11th place finish at the box office. And that’s just ticket sales, the Met is also garnering priceless marketing in countless news stories and the promotional spots running in movie theaters. As Gelb stated:

“We’re creating, basically, satellite opera houses. But the Met offers something you don’t get at a performance — cameras that show action behind the scenes and interviews in dressing rooms, the equivalent of going into the locker room of a sports team.”

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