Archive of the Digital Cinema Category

Like a well oiled machine, Katabatic Digital (www.katabatic.tv) continually rolls out artfully produced high-end commercials, music videos, and advertising campaigns. Recognized for its excellence in high-end post production for digital cinema, Katabatic has an established client base that keeps on growing. To manage the business side of its rapid growth, Seth Tabor has joined Katabatic Digital as executive producer.

As executive producer, Tabor will spearhead client services and business development. “Seth brings 15+ years of experience and knowledge in virtually all areas of production and post production, which enable him to help our clients get the best results for their challenging projects,” says Emery Wells, digital colorist and founder of Katabatic. “His strong organization skills honed in the development of numerous films, commercials, and music videos, as well as management positions, will be an asset in managing our clients’ projects, as well as our growing client base.”

Tabor cut his teeth in production prior to focusing full time in post and VFX. He held production and managing positions at Open Frame Productions and Curious Pictures before becoming the Managing Director/CFO at Quiet Man where he oversaw countless projects for clients such as Gillette, Proctor & Gamble, Pepsi Max, McDonalds, and GE.

“Emery Wells is committed to excellence in every aspect of post production and this has become the mantra throughout Katabatic. He also has the foresight to carry this vision through to the management side of company as we expand our client services and continue to take on more complex projects,” says Tabor. “It’s an exciting time to be working in this industry and to be a player on such an innovative and talented team like Katabatic.”

Katabatic is at the forefront of the latest digital cinema technologies, offering its clients expertise in end-to-end creative, VFX, and post-production services for digital cinema in any format from any camera – 3D, RED Epic 5K and4K, ARRI Alexa, Phantom, Canon SLRS, Sony F3, and more. ASSIMILATE’s resolution-independent SCRATCH software is he backbone of Katabatic’s post-production workflow. Katabatic also offers the rental of RED Epic and 4K cameras, including on-set technical expertise.

Katabatic Digital (NYC) is a digital cinema company that blends creativity with technology to provide digital post production services for high-quality visual projects such as ad campaigns, music videos, and TV episodes. Katabatic works with any camera/format, and also provides rentals of the RED Epic and RED 4K cameras, including on-set technical expertise. ASSIMILATE’s SCRATCH is Katabatic’s data workflow of choice for real-time post production, from conform, color grading, dailies, client reviews, through finishing. Katabatic’s portfolio includes high-end music videos and TV spots for Beyonce, Cee-Lo and Saturday Night Live, and advertising for major household brands, such as Google Wallet, Google Chrome, Vonage, Jaguar, Goldman Sachs, and more. To learn more about Katabatic Digital, see www.katabatic.tv, or call 212-620-0818.

New high definition (HD, 2K, 4K) royalty-free stock footage timelapse shot in Krakow, Poland have been added in different categories (City, Architecture and People) on HDtimelapse.net website.

Some of the locations from Krakow, Poland are Aerial View of Krakow, Market Square, Town Hall Tower, Cloth Hall, Drapers’ Hall (Sukiennice), St. Mary’s Basilica, Cracovia Old Town, Gothic Wawel Royal Castle, Wawel Cathedral, Wawel Hill, Florianska Street, St. Florian’s Gate, The Collegiate Church of St. Florian, UNESCO, World Heritage Site, The Krakow Barbican Area, Barbakan, Basztowa Street, Old Town Gateway, Juliusz Slowacki Theatre, Holy Cross Church, Church of St. Adalbert, Adam Mickiewicz Statue, Basilica of the Sacred Heart of Jesus, Cracovia Business Center Tower, Vistula River, Matejko Square, Church of Saints Peter and Paul, Basilica of the Holy Trinity, Grodzka Street, The Royal Road, Royal Route, Rain, Twilight.

HDtimelapse.net library contains 6500+ time lapse video clips from 125 locations in 40 countries.

Timelapse royalty-free stock footage here: http://www.hdtimelapse.net

Cinedeck EX v2.5 features extensive timecode and audio enhancements, plus new deck control application and improved playback engine

Cinedeck LLC (www.cinedeck.com), the pioneering developer of mobile capture systems for motion picture and broadcast production, today announced significant enhancements to its award-winning, portable, multi-format, recording, monitoring and playback system, with the release of Cinedeck EX v2.5.

Available for immediate download, the new Cinedeck v2.5 software delivers a range of customer-requested features that support an even better operational experience for Cinedeck users. These include a new and enhanced playback engine, expanded timecode operations, upgraded audio metering displays, and a new Windows-based, desktop remote controller for multiple Cinedeck EX systems.

Cinedeck EX is already the fastest gateway from production to post. It enables any camera with an HD-SDI or HDMI output to record to a choice of the most preferred finishing standards used in editorial and VFX post production today, including all flavors of Avid DNxHD, Apple ProRes, CineForm, plus uncompressed 444 and uncompressed 422 recording.

Chief among the enhancements of the Cinedeck v2.5 release is a new playback engine, which has been completely rewritten and provides a vastly improved user-experience compared to prior versions. Crucially, the new engine enables users to take advantage of Cinedeck Controller, a free Windows-based desktop application, which provides basic deck control of the Cinedeck EX. Cinedeck Controller, which comes bundled with the new software release, allows users to remotely control up to 24 Cinedeck units, browse a list of clips recorded in the current scene folder, and to control recording and playback on multiple units independently or simultaneously.

Among the many expanded timecode operations, Cinedeck v2.5 adds support for Adrienne Electronic’s LTC devices, including the use of Adrienne’s mini USB timecode reader. Cinedeck EX already supports Ambient Recording timecode systems.

Redesigned audio meters now show audio in dBFS (full scale) from -60dB to 0dB, with levels displayed in an array of colors making them easier to read in the field. Along with a range of general playback fixes, other enhancements include new edge detection displays, with edges in red, rather than black, to increase legibility.

“Users already enjoy the experience of using, and interacting with, Cinedeck EX, and their feedback has resulted in the new Cinedeck EX v2.5 software version containing a host of enhanced features,” said Cinedeck CEO Alan Hoff. “These new features focus on usability and performance improvements to optimize the fundamental operation of Cinedeck EX where it matters most – in production. With the new v2.5 version available now, current and new customers will enjoy the Cinedeck EX experience even more.”

Cinedeck EX v2.5 will be on display at the Createasphere Burbank show November 2-3, 2011 at Sony’s booth #101, and at Keycode Media’s booth #303.

Pricing and Availability:
Cinedeck EX v2.5 is available for immediate download, free-of-charge, to customers on maintenance. Cinedeck EX is available for purchase via resellers worldwide starting at $8495USD–MRSP. Visit www.cinedeck.com to find your nearest reseller.

Founded by cinematographers, and headquartered in the heart of New York City, USA, Cinedeck manufactures innovative, touchscreen recording systems for use with all popular digital cinematography cameras. Along with on-set monitoring, playback and quality control capabilities, these recorders also unify camera-to-post workflows by offering the industry’s most comprehensive range of edit-ready output formats. Cinedeck EX, the industry’s first camera-mountable device, has proven essential to the workflow on hundreds of TV and cinema productions, and has won TV Technology’s “2010 STAR Award”, the “2010 Vidy Award,” and DV Magazine’s “Award of Excellence”. Continuing this pioneering spirit, Cinedeck LLC is also addressing the challenges of the mobile and outdoor broadcaster with Cinedeck RX, its new, rack-mounted, multi-format recorder, monitor and playback system. Cinedeck RX was awarded the prestigious “2011 Pick Hit Award at IBC 2011” from Broadcast Engineering Magazine. For more information, visit www.cinedeck.com.

Judging Panel Includes Academy Award-Winning Cinematographer Russell Carpenter (Titanic), Producer Maureen Ryan (Academy Award-Winning Documentary, Man on Wire) and Actress Heather Matarazzo (Welcome to the Dollhouse)
Judging Panel Includes Academy Award-Winning Cinematographer Russell Carpenter (Titanic), Producer Maureen Ryan (Academy Award-Winning Documentary, Man on Wire) and Actress Heather Matarazzo (Welcome to the Dollhouse)

NEW YORK, NEW YORK, November 3, 2011 – Big Vision Empty Wallet (BVEW), the networking organization dedicated to bringing both emerging and established artists and innovators together and helping them collaborate, create and showcase their work, has teamed up with Canon to launch its first National Film Pitch Competition. The purpose of Big Vision Empty Wallet’s National Film Pitch Competition is to find the next great feature film and get it made. Canon will be awarding the Grand Prize Winner with a 30-consecutive-day HDSLR Camera and Canon EOS EF “L” Series Lens Package Rental, plus a 1-week re-shoot. The winner will also receive other free rental packages and services to help them get their film made from additional sponsors, including a Producer’s Package from Media Services/Show Biz Software, Quick Film Budget, Konsonant, Rotting Television and Daryl Eisenberg Casting. The Grand Prize is valued at over $100,000. An additional prize furnished by Media Services will be awarded to the Viewer’s Choice Winner for Best Pitch Video, selected through online voting.

When contestants submit to the competition they receive a free one-year membership to Big Vision Empty Wallet. Contestants must be residents of the United States. To submit, visit: http://www.bigvisionemptywallet.com/national-film-pitch

Participants must submit the following by January 30, 2012:

• A treatment for their dream feature film that they would make using the valuable prizes provided by the competition sponsors.
• A promotional video, trailer or scene that pitches their film.
• Bios of the creative team.

The Top 10 Finalists will be announced on BigVisionEmptyWallet.com on February 10, 2012, at which time, online voting will open to decide the online winner. The esteemed judges will give each finalist a score based on originality, style, professionalism, marketability, quality of work and so on. The Top 3 Finalists will be announced on March 1, 2012.

The Top 3 Finalists will have from March 1, 2012 – April 1, 2012 to complete the first draft of their screenplay and submit it for judging in the final round. Online voting for the best pitch video will continue throughout this time.

The judging panel will select the Grand Prize Winner, which will be announced on BigVisionEmptyWallet.com and RottingTelevision.com on May 1, 2012.

The judging panel includes:

• Russell Carpenter – Academy Award-Winning Cinematographer, Titanic
• Maureen Ryan – Producer, Academy Award-Winning Documentary Man on Wire, Project Nim
• Heather Matarazzo – Actress, Welcome to the Dollhouse (Independent Spirit Award)
• Rik Cordero – Award Winning Commercial, Film and Music Video Director
• Alex Buono – Academy Award Nominated Cinematographer, 10-year veteran Saturday Night Live
• June Diane Raphael – Writer and star of upcoming feature Ass Backwards, Writer of Bride Wars

“It isn’t our goal to simply find the next great feature film, we will also enable the winner to get their dream film made,” said BVEW co-founder Dani Faith Leonard. “The grand prize package is huge. I wish I could win it!”

“We are extremely grateful and excited to be teaming with all of our sponsors, especially Canon during the exciting launch of their brand new cameras,” said BVEW co-founder Alex Cirillo.

ABOUT BVEW:

Big Vision Empty Wallet is an international networking organization dedicated to bringing together artists and innovators and helping them create, collaborate, and showcase their work. We inspire the creative class to create great change by creating great work.

Members Can:

FIND ARTISTS TO COLLABORATE WITH:
- Attend our ongoing events in cities around the world.
- Post casting and crewing notices on our projects board and in our member bulletin.
- Create a profile on our site where you can share your work and information about yourself as an artist and the art you create.
- Interact with other members who you want to work with by sending them a private message on the site.

CREATE WITH EASE:
- Take advantage of our exclusive member deals and discounts.
- Use our resource guide, including over 125 production forms, NY and LA vendor directories, as well as our listings of film commissions and unions.

SHOWCASE YOUR WORK:
- Screen your films or exhibit your work at our events.
- Gain free online entry to all of our online competitions.
- Upload your work onto your member profile.

AFFECT CHANGE:
Give back to your community at our local Chapter events in NY, LA, Philly and DC. We host events in other cities around the world too and will be expanding our events to Chicago, Boston, Toronto, London and Madrid! Each Chapter is associated with local charities and non-profits. Our members? work is always showcased through screenings, exhibits and performances as members network and give back.

ABOUT BVEW’S NATIONAL FILM COMPETITION JUDGES:

RUSSELL CARPENTER won the 1997 Oscar for Best Cinematography on James Cameron’s Titanic. His work with Cameron began on the 1994 Arnold Schwarzenegger comedy/action hybrid, True Lies. He is a member of the American Society of Cinematographers (ASC). In the 1980s, Carpenter shot many memorable horror films including Critters, Critters 2 and A Nightmare on Elm Street 5: The Dream Child. In the 1990s, he DP’d the Jean-Claude Van Damme hits Death Warrant and Hard Target. His next project, This Means War, is due out in theaters sometime next year.

MAUREEN A. RYAN is a producer based in New York concentrating on feature films and documentaries. She is co-producer of James Marsh’s 2009 Academy Award-winning Best Documentary, Man on Wire, as well as on Marsh’s latest feature documentary, Project Nim. She produced the independent film Bomber, which had its world premiere at the SXSW Film Festival in 2009, as well as 2008 Peabody Award-winner, The Gates, co-directed by Albert Maysles. Ryan also wrote the book, Producer to Producer: The Step-by-Step Guide to Low Budget Independent Film Producing.

HEATHER MATARAZZO, a successful actor since her feature film debut in Welcome to the Dollhouse at the age of 11, has been captivating movie-going audiences for over a decade. Her unique talent and on-screen charm have earned her critical acclaim, including an Independent Spirit Award. Heather quickly followed up Dollhouse with a breakout performance in Taylor Hackford’s thriller, The Devil’s Advocate. In the following years, she worked non-stop on such films as 54, Getting to Know You, Scream 3, Sorority Boys, and Freshman Orientation. In 1997, Heather joined the cast of the smash hit series Roseanne for the final season. In 2001, Heather starred in Disney’s box office hit, The Princess Diaries, directed by Garry Marshall. That same year, Heather starred in Service Men off Broadway and made her Broadway debut in the Roundabout Theatres production of The Women. Following up her Broadway debut, Heather went into production for the sleeper hit Saved. Heather’s focus continues in film and theatre as she chooses to diversify her body of work securing a lead role in the sequel to HOSTEL. In 2010 Heather produced and starred in MANGUS!, and independent feature film directed by Ash Christian.

RIK CORDERO was born and raised in Queens, New York and is known for applying unusual, non-traditional shooting methods in his work. He was nominated for Video Director Of The Year at the 2009 BET Awards and was the recipient of the Best Film Award for his feature film, Inside A Change, which made its world premiere at the 2009 HBO New York International Latino Film Festival. In 2010, Cordero was seen in Sprite’s print and television ads for their “Spark” campaign. The ads featured him as a Hollywood director discovering inspiration in very unlikely ways. He recently wrapped his latest feature Starla, a thriller executive produced by Chris Robinson and The World Is Watching, a documentary about the culture of New York City high school basketball produced by Nike and narrated by Spike Lee. Cordero was also a featured director for SHOOT Magazine’s 9th Annual New Director’s Showcase held at the DGA Theater on May 10, 2011. He is currently in production with a documentary about the closing of Peninsula Hospital Center in Queens, New York.

ALEXANDER BUONO wrote and produced the theatrical documentary, Bigger Stronger Faster, which he developed and guided through every stage from financing and production to final delivery and distribution. The film premiered in competition at the 2008 Sundance Film Festival and was distributed by Magnolia Pictures. Alex was the co-producer and director of photography of Green Street Hooligans, about London’s football subculture starring Elijah Wood, which won both the Jury Prize and Audience Award at the 2005 SXSW Film Festival. In 2003, Alex received an Oscar nomination for the short film, Johnny Flynton, which he produced and photographed. He recently completed the Chinese co-production, Shanghai Kiss, starring Hayden Panettiere, and has been the director of photography for the Saturday Night Live Film Unit for the past 9 seasons. Other credits include the Emmy-nominated ESPN series Mayne Street. Alex is a graduate of the USC School of Cinema Arts and spent his early post-collegiate years on the camera crews of studio ?lms including Twister, Conspiracy Theory and Armageddon. ?

JUNE DIANE RAPHAEL has appeared in such films as Forgetting Sarah Marshall, Zodiac, Going the Distance, Year One, The Dry Land and Bride Wars, which she co-wrote with Casey Wilson. She currently plays Piper on the Adult Swim series NTSF:SD:SUV, and has been seen on Flight of the Conchords, Party Down, Funny Or Die Presents, Happy Endings and Players. She currently is developing a pilot for ABC with Will Gluck called, “Walk of Shame” in addition to numerous features currently in development.

ABOUT BVEW’S FOUNDERS:

ALEX CIRILLO is a filmmaker born and raised in New York. In May 2010, she and Dani Faith Leonard launched Big Vision Empty Wallet after having produced film screenings and competitions through their sister company, Industry Power Play. Cirillo is also a Producer at Washington Square Films where she works on feature films, documentaries and commercials, and specializes in TV & New Media development. She recently worked on Margin Call, a feature film starring Kevin Spacey, Jeremy Irons and Stanley Tucci, which premiered at Sundance 2011 & opened in theatres this October, and Francine, an independent experimental drama starring Melissa Leo slated for release in 2012. Cirillo also serves as Grant Manager for Emmy-winning Director Robert Levi’s and Bowery Arts & Science’s National Endowment for the Humanities Grant for a documentary about legendary jazz musician Hank Jones. Additionally, Cirillo is the chairwoman of New York Women in Film & Television’s Gift Bag Committee. This summer she had the honor of serving as a judge for the Boston Comedy Festival’s New York Showcase and she is currently in pre-production on a documentary about children in inner city Baltimore gaining confidence and life skills with the help of The Tender Bridge.

DANI FAITH LEONARD is a writer and actress based in New York City. She has acted in independent films and theatre in the US and overseas. She can be seen writing and performing with the sketch comedy troupe Really Sketchy. In June 2008, she founded Preen Productions under which she and business partner Alex Cirillo ran Industry Power Play, a series of monthly film screenings and events for the independent film and performing arts community of NYC. In May 2010, they launched BigVisionEmptyWallet.com, a networking organization dedicated to bringing artists together from all over the world. She currently has two films in pre-production and is looking forward to what this exciting year will hold personally, and for Big Vision Empty Wallet.

For more information and to become a member of Big Vision Empty Wallet, visit http://www.bigvisionemptywallet.com/join.

NEW YORK, NEW YORK, November 3, 2011 – Big Vision Empty Wallet (BVEW), the networking organization dedicated to bringing both emerging and established artists and innovators together and helping them collaborate, create and showcase their work, has teamed up with Canon to launch its first National Film Pitch Competition. The purpose of Big Vision Empty Wallet’s National Film Pitch Competition is to find the next great feature film and get it made. Canon will be awarding the Grand Prize Winner with a 30-consecutive-day HDSLR Camera and Canon EOS EF “L” Series Lens Package Rental, plus a 1-week re-shoot. The winner will also receive other free rental packages and services to help them get their film made from additional sponsors, including a Producer’s Package from Media Services/Show Biz Software, Quick Film Budget, Konsonant, Rotting Television and Daryl Eisenberg Casting. The Grand Prize is valued at over $100,000. An additional prize furnished by Media Services will be awarded to the Viewer’s Choice Winner for Best Pitch Video, selected through online voting.

When contestants submit to the competition they receive a free one-year membership to Big Vision Empty Wallet. Contestants must be residents of the United States. To submit, visit: http://www.bigvisionemptywallet.com/national-film-pitch

Participants must submit the following by January 30, 2012:

• A treatment for their dream feature film that they would make using the valuable prizes provided by the competition sponsors.
• A promotional video, trailer or scene that pitches their film.
• Bios of the creative team.

The Top 10 Finalists will be announced on BigVisionEmptyWallet.com on February 10, 2012, at which time, online voting will open to decide the online winner. The esteemed judges will give each finalist a score based on originality, style, professionalism, marketability, quality of work and so on. The Top 3 Finalists will be announced on March 1, 2012.

The Top 3 Finalists will have from March 1, 2012 – April 1, 2012 to complete the first draft of their screenplay and submit it for judging in the final round. Online voting for the best pitch video will continue throughout this time.

The judging panel will select the Grand Prize Winner, which will be announced on BigVisionEmptyWallet.com and RottingTelevision.com on May 1, 2012.

The judging panel includes:

• Russell Carpenter – Academy Award-Winning Cinematographer, Titanic
• Maureen Ryan – Producer, Academy Award-Winning Documentary Man on Wire, Project Nim
• Heather Matarazzo – Actress, Welcome to the Dollhouse (Independent Spirit Award)
• Rik Cordero – Award Winning Commercial, Film and Music Video Director
• Alex Buono – Academy Award Nominated Cinematographer, 10-year veteran Saturday Night Live
• June Diane Raphael – Writer and star of upcoming feature Ass Backwards, Writer of Bride Wars

“It isn’t our goal to simply find the next great feature film, we will also enable the winner to get their dream film made,” said BVEW co-founder Dani Faith Leonard. “The grand prize package is huge. I wish I could win it!”

“We are extremely grateful and excited to be teaming with all of our sponsors, especially Canon during the exciting launch of their brand new cameras,” said BVEW co-founder Alex Cirillo.

ABOUT BVEW:

Big Vision Empty Wallet is an international networking organization dedicated to bringing together artists and innovators and helping them create, collaborate, and showcase their work. We inspire the creative class to create great change by creating great work.

Members Can:

FIND ARTISTS TO COLLABORATE WITH:
- Attend our ongoing events in cities around the world.
- Post casting and crewing notices on our projects board and in our member bulletin.
- Create a profile on our site where you can share your work and information about yourself as an artist and the art you create.
- Interact with other members who you want to work with by sending them a private message on the site.

CREATE WITH EASE:
- Take advantage of our exclusive member deals and discounts.
- Use our resource guide, including over 125 production forms, NY and LA vendor directories, as well as our listings of film commissions and unions.

SHOWCASE YOUR WORK:
- Screen your films or exhibit your work at our events.
- Gain free online entry to all of our online competitions.
- Upload your work onto your member profile.

AFFECT CHANGE:
Give back to your community at our local Chapter events in NY, LA, Philly and DC. We host events in other cities around the world too and will be expanding our events to Chicago, Boston, Toronto, London and Madrid! Each Chapter is associated with local charities and non-profits. Our members? work is always showcased through screenings, exhibits and performances as members network and give back.

ABOUT BVEW’S NATIONAL FILM COMPETITION JUDGES:

RUSSELL CARPENTER won the 2007 Oscar for Best Cinematography on James Cameron’s Titanic. His work with Cameron began on the 1994 Arnold Schwarzenegger comedy/action hybrid, True Lies. He is a member of the American Society of Cinematographers (ASC). In the 1980s, Carpenter shot many memorable horror films including Critters, Critters 2 and A Nightmare on Elm Street 5: The Dream Child. In the 1990s, he DP’d the Jean-Claude Van Damme hits Death Warrant and Hard Target. His next project, This Means War, is due out in theaters sometime next year.

MAUREEN A. RYAN is a producer based in New York concentrating on feature films and documentaries. She is co-producer of James Marsh’s 2009 Academy Award-winning Best Documentary, Man on Wire, as well as on Marsh’s latest feature documentary, Project Nim. She produced the independent film Bomber, which had its world premiere at the SXSW Film Festival in 2009, as well as 2008 Peabody Award-winner, The Gates, co-directed by Albert Maysles. Ryan also wrote the book, Producer to Producer: The Step-by-Step Guide to Low Budget Independent Film Producing.

HEATHER MATARAZZO, a successful actor since her feature film debut in Welcome to the Dollhouse at the age of 11, has been captivating movie-going audiences for over a decade. Her unique talent and on-screen charm have earned her critical acclaim, including an Independent Spirit Award. Heather quickly followed up Dollhouse with a breakout performance in Taylor Hackford’s thriller, The Devil’s Advocate. In the following years, she worked non-stop on such films as 54, Getting to Know You, Scream 3, Sorority Boys, and Freshman Orientation. In 1997, Heather joined the cast of the smash hit series Roseanne for the final season. In 2001, Heather starred in Disney’s box office hit, The Princess Diaries, directed by Garry Marshall. That same year, Heather starred in Service Men off Broadway and made her Broadway debut in the Roundabout Theatres production of The Women. Following up her Broadway debut, Heather went into production for the sleeper hit Saved. Heather’s focus continues in film and theatre as she chooses to diversify her body of work securing a lead role in the sequel to HOSTEL. In 2010 Heather produced and starred in MANGUS!, and independent feature film directed by Ash Christian.

RIK CORDERO was born and raised in Queens, New York and is known for applying unusual, non-traditional shooting methods in his work. He was nominated for Video Director Of The Year at the 2009 BET Awards and was the recipient of the Best Film Award for his feature film, Inside A Change, which made its world premiere at the 2009 HBO New York International Latino Film Festival. In 2010, Cordero was seen in Sprite’s print and television ads for their “Spark” campaign. The ads featured him as a Hollywood director discovering inspiration in very unlikely ways. He recently wrapped his latest feature Starla, a thriller executive produced by Chris Robinson and The World Is Watching, a documentary about the culture of New York City high school basketball produced by Nike and narrated by Spike Lee. Cordero was also a featured director for SHOOT Magazine’s 9th Annual New Director’s Showcase held at the DGA Theater on May 10, 2011. He is currently in production with a documentary about the closing of Peninsula Hospital Center in Queens, New York.

ALEXANDER BUONO wrote and produced the theatrical documentary, Bigger Stronger Faster, which he developed and guided through every stage from financing and production to final delivery and distribution. The film premiered in competition at the 2008 Sundance Film Festival and was distributed by Magnolia Pictures. Alex was the co-producer and director of photography of Green Street Hooligans, about London’s football subculture starring Elijah Wood, which won both the Jury Prize and Audience Award at the 2005 SXSW Film Festival. In 2003, Alex received an Oscar nomination for the short film, Johnny Flynton, which he produced and photographed. He recently completed the Chinese co-production, Shanghai Kiss, starring Hayden Panettiere, and has been the director of photography for the Saturday Night Live Film Unit for the past 9 seasons. Other credits include the Emmy-nominated ESPN series Mayne Street. Alex is a graduate of the USC School of Cinema Arts and spent his early post-collegiate years on the camera crews of studio ?lms including Twister, Conspiracy Theory and Armageddon. ?

JUNE DIANE RAPHAEL has appeared in such films as Forgetting Sarah Marshall, Zodiac, Going the Distance, Year One, The Dry Land and Bride Wars, which she co-wrote with Casey Wilson. She currently plays Piper on the Adult Swim series NTSF:SD:SUV, and has been seen on Flight of the Conchords, Party Down, Funny Or Die Presents, Happy Endings and Players. She currently is developing a pilot for ABC with Will Gluck called, “Walk of Shame” in addition to numerous features currently in development.

ABOUT BVEW’S FOUNDERS:

ALEX CIRILLO is a filmmaker born and raised in New York. In May 2010, she and Dani Faith Leonard launched Big Vision Empty Wallet after having produced film screenings and competitions through their sister company, Industry Power Play. Cirillo is also a Producer at Washington Square Films where she works on feature films, documentaries and commercials, and specializes in TV & New Media development. She recently worked on Margin Call, a feature film starring Kevin Spacey, Jeremy Irons and Stanley Tucci, which premiered at Sundance 2011 & opened in theatres this October, and Francine, an independent experimental drama starring Melissa Leo slated for release in 2012. Cirillo also serves as Grant Manager for Emmy-winning Director Robert Levi’s and Bowery Arts & Science’s National Endowment for the Humanities Grant for a documentary about legendary jazz musician Hank Jones. Additionally, Cirillo is the chairwoman of New York Women in Film & Television’s Gift Bag Committee. This summer she had the honor of serving as a judge for the Boston Comedy Festival’s New York Showcase and she is currently in pre-production on a documentary about children in inner city Baltimore gaining confidence and life skills with the help of The Tender Bridge.

DANI FAITH LEONARD is a writer and actress based in New York City. She has acted in independent films and theatre in the US and overseas. She can be seen writing and performing with the sketch comedy troupe Really Sketchy. In June 2008, she founded Preen Productions under which she and business partner Alex Cirillo ran Industry Power Play, a series of monthly film screenings and events for the independent film and performing arts community of NYC. In May 2010, they launched BigVisionEmptyWallet.com, a networking organization dedicated to bringing artists together from all over the world. She currently has two films in pre-production and is looking forward to what this exciting year will hold personally, and for Big Vision Empty Wallet.

For more information and to become a member of Big Vision Empty Wallet, visit http://www.bigvisionemptywallet.com/join.

The 360 Mall’s Family Entertainment Center in Kuwait features an all-around immersive mall experience offering top-of-the-line rides and the latest video games and skill tests for the entire family.
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Drawing on Christie projection systems, Electrosonic designed, supplied, installed and programmed extensive LED lighting, digital signage, video projection, special effects, audio and show control for what has become a go-to destination. The concept was created by Tamdeen Entertainment Company and designed by Concept i Design.
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Helping to put the ‘fun’ into the ‘Infunity Zone,’ with its assortment of rides, is a Christie DS+750, 7500 ANSI lumens 1-chip DLP® SXGA+ projector. Working in combination with GestureTek gesture-controlled tracking technology, images are projected vertically down onto the floor, enabling children to interact with the content of popping balloons and swimming fish.
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Elsewhere, the Freeze Club (with its North Pole motif) offers a unique venue for Kuwaiti teens with arcades, video games and simulators. An interactive video wall at the entrance features two Christie DHD700 1-chip DLP® HD projectors — again working with GestureTek cameras and tracking systems, and outputting 6500 ANSI lumens — allowing young guests to interact with the content, while low-lying fog is generated at the foot of the video wall. The DHD700 contains a unique, user-changeable, twin-color wheel system for high brightness and rich-color options, as well as a choice of six motorized HD lens.
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Creating further impact in Infunity are 67 LED fixtures, which bathe the games area in light and generate excitement with color changes, while an entire wall of 18 displays forms an art installation in the middle of the zone’s large atrium. Infunity also features a 10 mm thick, 7.68 meter by 4.8 meter (25 feet 2 inches by 8 feet 9 inches) LED video wall, possibly the largest LED wall in Kuwait.
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Electrosonic also injected the Freeze Club with 15 LCD digital signage systems to display advertising and information, while a low-resolution wall, boasting over 2,000 meters (6,562 feet) of LEDs, wraps around the entire room and displays fire, rain, graphics and abstract patterns. Enhanced by smoke effects, a laser system installed by Electrosonic recreates the Aurora Borealis on the domed ceiling.
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The complex also incorporates a 20-lane Bowling Room (plus separate VIP lanes), which includes 3,500 individual strands of color-changing fibers in a nine-chandelier array. The overall installation incorporates an advanced audio solution, with central and local control racks and centrally located Medialon servers control digital signage throughout the complex.
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Electrosonic’s work in the complex spanned 18 months with local labor and support provided by aDawliah.

Colorist Dado Valentic of MyTherapy Talks about his Work and his Technology


London: Nov 1, 2011 … Soho-based Dado Valentic is a colorist and digital image workflow expert. His facility, MyTherapy, provides clients with on-set supervision, including look development, color grading and finishing, and digital distribution, with a specialization in stereo 3D.


While much of Valentic’s work is on independent feature films, such as Inbred – the latest work by director Alex Chandon – the facility also delivers commercials projects, music videos and television shows.


Traditionally colorists have not been involved in distribution, but Valentic takes a larger view. “I believe that it is our responsibility as colorists and post artists to push digital technologies forward. While camera manufacturers are creating better sensors and more refined tools, our mission is to learn how to process these images to ensure they look their very best once they reach the viewer.”

We spoke recently with Valentic at his facility in London.


Tell us about your most recent project, Inbred.



I think this is, so far, my best work. Things just came together really nicely for this project. I had just got an upgrade for my DaVinci Resolve system. It was shot in 4K, so I had these beautiful images to work with. I had an amazing director, Alex Chandon. This was his comeback project after 10 years away and he was so passionate about the film. We had a great time and everything just came together: my equipment was working great and the film was great, and when I look at it, I am very proud. I think it’s the nicest job I’ve done so far.



Did you do digital cinema mastering for Inbred?


Yes, because that is the way I work. I never just grade something and then hand over the hard drive. My job is make sure that when the film is out there in the cinema, it looks exactly the way we wanted it to look. I never take a project on without delivering it in the format that they require. I make a version for digital cinema, and then I make a one for DVD, and another for BluRay and for the internet as well.


What are some of the differences to watch for with different deliverable formats?


Cinema is different from watching a movie at home. A movie theater is much darker. The images are bigger, so my vignettes are a different size in a cinema than they are in a DVD. I make my blacks different for the cinema than for a DVD. The same thing applies for iPads. The iPad looks too dark if you put a normal cinema grade onto it, so you have to really embrace the medium you are delivering to get the best possible picture.


How much of your work is in production, or near the set?


I am getting more and more involved in set work. Postproduction is starting earlier and earlier now. I am often consulted on jobs when they are in the planning stage. My clients come to me with the script and talk about how they can make it happen best.


How did you get into digital cinema mastering?


When I was working for Sony I saw one of the very first prototypes of a DLP projector and the moment I saw those images, I knew that this is going to be the future – the images were so stunning. So even before digital cinema had become a standard, I had already started looking into ways to do it. I did a lot of research on how to get into digital cinema. That’s when I discovered this company called Qube.


I found that their approach was actually the best of all, in terms of the architecture. In 2006 I bought one of the very first mastering systems in the UK from Qube. And I became just the second or third facility in the UK to provide digital cinema mastering services. I’ve been making DCPs ever since.


What makes Qube’s DCP mastering architecture different?


The early specifications for how DCPs should be made were written by people who worked with films, so they basically took the 35mm processes of filmmaking and transferred those processes into the digital world. But digital is different. I never agreed entirely with the process that was being advocated. I felt that they were complicating things too much and that there were too many conversions. There had to be a better way to approach this process, especially when it comes to what source material to use, and how to manage color and the image size, etc. This is exactly what Qube had already figured out.


What is your approach to making DCPs?


Even today other companies force you to use specific image files as your source material for mastering DCPs, but it is much better if you can take your RAW master image, buffer it in the computer memory and do the conversions on the fly, reading the buffer and encoding into a JPEG 2000. This is what QubeMaster does. They wrote the software to be more flexible, and along with that, they introduced color management right in the beginning, which is actually the key.


You really can’t encode something without having total control over the image and color, especially if we are talking about a larger color space like P3.


You do a lot of work in stereo 3D. How is that different?


I’ve done four feature films and lots of commercials in stereo, but I still think that I have a lot to learn about stereo. We all do. It is so interesting what you can do with depth if you apply different amounts of brightness or saturation. It’s amazing how sensitive we are to even 2D clues about depth.


I’ve done a lot of 3D work in terms of brightness, which, as we all know, can be an issue with stereo projection. There is only so much light you can use in the projector, but what we can do is change the perception of brightness in the image.


How do you change the “perception of brightness?”


I found an incredible theory about light from Helmholtz, who describes the importance of local contrast for the perception of brightness. For example, if I put a black box next to white box, I would have a certain perception of brightness. If I put the same white box next to a gray box, the perception of the white will be different. Perception is subjective, but we can get so focused on the measurable aspects of light and color, we can overlook the importance of the subjective experience.


I’ve been working with a developer to write an algorithm, which we are deploying now, to apply a better perception of brightness in films. There are eight or nine color anomalies that humans have which we always need to consider during grading. We need to stop trying to measure the image and start just looking at it to see how we feel about it.


What are the challenges of mastering stereo 3D for digital cinema?


I did the very first stereo feature film in the UK called Streetdance 3D (released in 2010). Those were the early days and the biggest challenge we had then was the compatibility of servers. There are some servers out there that are so old that their hardware and software struggle with 3D content. Because you have double the frame rate in stereo, you need to reduce the bandwidth of the encoding without maxing out the server, or it starts dropping frames.


You have to be really clever with your compression to make sure you still get a good image without compression artifacts. I have seen some masters out there made by big facilities that suffer from the problem of artifacts, simply because they had to produce the DCPs quickly, or just because of carelessness. 3D mastering is tricky and it takes a lot of testing.


How does QubeMaster Pro help with stereo 3D?


QubeMaster allows you to really dig deep into your files and adjust them exactly. You can go as far as you want to distribute the bandwidth exactly the way you want to. You can actually tell the encoder what detail level you want. You can also tell it to ignore certain parts of the image because they are only noise. All these little things are important.


On the surface, all of the DCP mastering systems may look the same, but when you really need precision, when you really need access to specific parts, it is so important that you can get in there. And that’s what QubeMaster gives you.


What do your clients like best about your work?


I think they like my passion the best. I love what I do, and even if it’s just a short movie, I’m still going to try to get the best out of it. And that’s why people like to work with me, because I am totally engaged in a project.




Dado Valentic’s facility, MyTherapy is based in London. QubeMaster Pro is part of the QubeMaster family of digital cinema applications, which also include QubeMaster Xpress 2.0, (which offers easy DCP mastering on Windows); QubeMaster Xport, (a plugin for mastering DCP with Apple Compressor on Mac OSX), and QubeMaster Packager for creating new versions of DCPs without having to re-encode the entire file.

About Qube Cinema, Inc.
Qube Cinema, based in North Hollywood, CA, is an international manufacturer and provider of end-to-end Digital Cinema technology and mastering solutions. A subsidiary of Real Image Media Technologies, Qube Cinema draws on decades of experience in cinema and a leadership position in the transition from analog to digital technology. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with DCI-compliant products that are flexible, reliable and highly cost-effective. Qube Cinema’s product lines include the Qube XP-D and Qube XP-E servers, QubeMaster software solutions, Qube Keysmith KDM generation, and the new Qube Xi Integrated Media Block. For more information, visit Qube Cinema at www.qubecinema.com.

The new KataData storage and runtime calculator is an indispensable iPhone app for on-set, post production, and even non-technical positions. Emery Wells, founder of Katabatic Digital (NYC) – a grading, finishing, and VFX studio in New York City – knows this first hand. With the plethora of digital cameras and formats hitting the market, Wells developed the KataData app to alleviate all the pain in data planning and management for their post artists and lab technicians, as well as clients. And now, KataData is available to the broad spectrum of filmmakers and post-production facilities at the iPhone App Store for only $4.99.

KataData was built for filmmakers and post artists, supporting an extensive list of cameras, such as RED 4K and 5K Epic, Phantom, ARRI Alexa, Canon DSLR, as well as a wide range of codecs, such as DPX, Open EXR, DNxHD, and ProRes. KataData’s ease of use eliminates hours of calculations and frustration: just enter the amount of footage you have by file size (MB, GB, or TB) and KataData will calculate the runtime or storage. Or enter multiple calculations and add them together.

“For today’s apps, an intuitive user interface is a must have, so we’ve built in some cool features like swipe gestures to convert units and time code, and for RED camera users, it’s also easy to calculate stereo and HDRx options,” says Wells. “We’ll continue to add more features based on user feedback. If market demand is there, we’ll build it.”

What KataData Users Are Saying
Get a quick demo on YouTube and learn why first users are singing its praises.

Director/photographer Vince Laforet: “KataData is an incredibly graceful app that allows you to take the mystery out of all of these camera calculations and avoid the inevitable headaches that come with.”

Jim Hare, Sydney Australia: “Absolutely brilliant! I have several multicam shoots coming up using RED Epics and R1s and this app will be essential for locking down REDcode ratios. Just bought it and downloaded. Fantastic!”

Jason Wingrove – Director/Cinematographer: “There’s simply not an app in existence that does what KataData does. Trust me, I’ve bought them all.”

For a quick demo, go to: http://www.youtube.com/watch?feature=player_embedded&v=EceX_oD7A-M.

Specifications
Available immediately at $4.99, KataData runs on iOS 4 or later. It’s designed for the iPhone, but will also run on the iPod and iPad. For detailed specifications and a full listing of supported cameras and codecs, visit www.katabatic.tv/katadata.

To download the KataData app, go to http://itunes.apple.com/us/app/katadata/id464141210?ls=1&mt=8

Katabatic Digital (NYC) is a digital cinema company that blends creativity with technology to provide digital post production services for high-quality visual projects such as ad campaigns, music videos, and TV episodes. Katabatic works with any camera/format, such as RED Epic 5K and4K, ARRI Alexa, Phantom, Canon SLRS, Sony F3, and more and also provides rentals of the RED Epic and RED 4K cameras, including on-set technical expertise. ASSIMILATE’s SCRATCH is Katabatic’s data workflow of choice for real-time post production, from conform, color grading, dailies, client reviews, through finishing. Katabatic’s portfolio includes high-end music videos and TV spots for Beyonce, Cee-Lo and Saturday Night Live, and advertising for major household brands, such as Google Wallet, Google Chrome, Vonage, Jaguar, Goldman Sachs, and more. To learn more about Katabatic Digital, see www.katabatic.tv, or call 212-620-0818.

Friedrichsdorf, Germany, October 31, 2011 – MAXON, the leading developer of professional 3D modeling, painting, animation and rendering solutions, today announced immediate availability of a new plug-in for Adobe® After Effects® CS5 and CS5.5 that allows motion graphics artists to export projects directly into CINEMA 4D R13. This new capability broadens CINEMA 4D’s domination as the industry-leading 3D motion graphics toolkit, known for its seamless connectivity to popular 2D motion graphics and compositing tools. This new plug-in is the perfect companion to the CINEMA 4D composition import already widely used by broadcast designers worldwide. With the combination of these two plugins, motion graphics artists working on Windows and Mac OS X will enjoy easy data exchange to and from both applications.

The CINEMA 4D export appears directly in the After Effects export menu and generates a .c4d file containing 3D layers, cameras, lights, solids, nulls and footage. Even nested compositions are supported. All major layer attributes including animations (rotation, position, parameter, anchor points, POI, etc.), expressions, layer parenting, layer locking and layer visibility are retained. Render and document settings in CINEMA 4D are adapted accordingly to the After Effects’ project settings.

“The After Effects-CINEMA 4D workflow is the proven choice for top motion design studios worldwide seeking to easily integrate their 3D and 2D workflows,” commented Harald Schneider, managing partner and CTO at MAXON. “We are pleased to offer our customers this new After Effects export plugin so they can benefit by the increased speed, efficiency and tight integration between these two powerhouse software packages.”

“CINEMA 4D is a 3D package After Effects users have already come to know and love because of its seamless integration into After Effects,” said Steve Forde, product manager for Adobe After Effects. “The ability to bring assets the other direction as well will certainly enhance productivity and further solidify CINEMA 4D as an ideal 3D solution for motion graphics artists.”

Pricing and Availability
The new CINEMA 4D R13 exchange plug-in compatible with Adobe After Effects CS3, CS4, CS5 and CS5.5 is immediately available as a free download from the MAXON website, www.maxon.net/afterfx_e

About CINEMA 4D
MAXON CINEMA 4D is a professional 3D software package offering everything needed to create high-end 3D images and animations for film, broadcast, architecture, games, multimedia, design and engineering. Building upon more than two-decades of excellence, CINEMA 4D offers spectacular image quality and an intuitive, easy-to-use interface that puts professional results within reach of artists at all levels of CGI experience. CINEMA 4D delivers speed and productivity by taking advantage of the latest advances in processor technology, and offers configurations tailored to the distinct needs of specialized 3D markets.

About MAXON Computer
Headquartered in Friedrichsdorf, Germany, MAXON Computer is a developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning CINEMA 4D and BodyPaint 3D software products have been used extensively to help create everything from stunning visual effects in top feature films, TV shows and commercials, cutting-edge game cinematics for AAA games, as well for medical illustration, architectural and industrial design applications. MAXON has offices in Germany, USA, United Kingdom, France, Japan and Singapore. MAXON products are available directly from the web site and its worldwide distribution channel. Specially priced learning editions of the company’s software solutions are also made available to educational institutions. To commemorate its 25 years impacting professional motion graphics designers, visual effects artists, architects and others in the creative community, MAXON will be hosting celebrations around the world throughout 2011. For additional information on MAXON visit www.maxon.net.

Two-day Gathering of Thought Leaders and Working Experts Probe State of Post Production

(BURBANK, CA) Createasphere – a global community builder for the entertainment technology industry – will present its Post Production Master Class on November 4 and 5 at the Burbank Marriott. Featuring a top lineup of thought leaders from across the spectrum of post production expertise, the Post Production Master Class provides an in-depth, interactive opportunity to spend time looking at the most compelling issues and latest information with experts deeply engaged in the process. As innovation continues to create dramatic workflow evolutions, this event offers professionals an opportunity to stay ahead of the curve, learn more about the latest trends, and plan for the future.

Such companies as FotoKem, ALT Systems, Light Iron, Codex, Tunnel, Technicolor, Testronic, Active Storage, and Gradient Effects, as well as cinematographers, editors, and important industry experts will present information and share their experiences. Sponsors include Assimilate, Melrose Video Professionals, Quantum, Active Storage as well as American Cinema Editors, Hollywood Post Alliance and Post Magazine. The schedule and speakers are expected to include:

John Bailey, ASC and Carol Littleton, ACE
Two renowned and experienced experts from the set and cutting room will engage in a conversation about the critical collaboration between production and the editing room, and how it impacts how artists tell stories, from the cinematographer’s and the editor’s point of view. Littleton’s credits include an Emmy Award for Tuesdays with Morrie, an Oscar nomination for E.T., among such others as The Rum Diary, Margot at the Wedding, and The Manchurian Candidate. Bailey’s work is world-renowned and includes The Anniversary Party, As Good as it Gets, Groundhog Day, The Accidental Tourist and The Big Chill, among many recent credits.

The State of On-Set
From before production starts through archiving, on-set tools and technologies are changing post production. What does this mean to the image, the file, the data, and the state of and security of the elements? Join FotoKem, Light Iron, Codex, Active Storage, 4K Ninjas, Assimilate, HBO and Technicolor-Creative Bridge along with key creatives as they discuss this fast-developing practice.

The State of Color
Meet the leading colorists and experts who are at work in the world of color, including Technicolor-LaserPacific, FotoKem, ALT Systems, Encore, Picture Head and Local Hero Post.

A Keynote Conversation with Karl Walter Lindenlaub, ASC
Karl is joined by team members in conversation with filmmaker and American Cinematographer writer Stephanie Argy in a discussion about his recent A Dolphin Tale. The true-story feature included extensive visual effects, 2D, 3D, and a complex post production path. Discover how to bring an emotional story to life from photography through final delivery.

The State of Post: Experts & Innovators
An overview session that addresses the state of such topics as previz, file-based workflows, multi-format delivery, and global networks in a world of post that is more intertwined with production than ever before. Experts and innovators will gather from LaserPacific-Technicolor, Company 3, Tunnel Post, Testronic, 5th Kind, HBO, DigitalFilm Tree and Gradient Effects/GLoW.

The two-day sessions are interspersed with opportunities for interaction with the professional attendees and presenters, in depth questions, and thoughtful discourse. Demonstrations of top tier technologies and the opportunity to meet with product experts are also on the schedule.

The Post Production Master Class follows Createasphere’s Entertainment Technology Expo on November 2-3, which brings together specialists, creatives and technicians through seminars, workshops, exhibits and networking opportunities.

For more information, visit: http://www.createasphere.com/En/post-production-master-class-2011-burbank-california.html

About Createasphere
Createasphere is a global community builder for the entertainment technology industry, advancing technologies and careers through Expos, Conferences, and online offerings.

Createasphere was founded in 2001 as HD EXPO, and over the past decade has grown into a global company that develops and presents influential events for the content creation community, on line and face to face. Founded by Kristin Petrovich Kennedy in Los Angeles, Createasphere became part of Diversified Business Communications in 2009, now driving their entertainment strategies and properties division. Currently Createasphere is presenting the Entertainment Technology Expos in New York and LA; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; Cinema India Expo in Mumbai; the online news and content portal CreativeProCoalition.com; 3D Road Shows; and Post Production Master Classes.

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Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Christie® has introduced the new Christie Avias-TMS™, a Theater Management System (TMS) software application that allows exhibitors to centrally manage and orchestrate all of their projection operations within a cinema multiplex – regardless of the diverse projector, servers or operating systems (OS) in use.
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Easy to install and simple to use, Christie Avias-TMS™ can be accessed from any location through a standard Web browser, offering management the ultimate freedom and flexibility to conduct theater operations from an office or home PC, tablet computer or iPad. Its many features reduce the costs and inefficiencies of managing digital projectors separately. For example, the web GUI allows centralized scheduling of all content, devices and Key Delivery Messages (KDMs), including a drag and drop playlist to allow rapid changes based on changing customer demands.
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“The Christie Avias-TMS™ is an exceptional overseer of cinema time management,” said Don Shaw, director, product management, Christie Entertainment Solutions. “It is ideal for theaters of all sizes, with multiple digital screens and hardware platforms, because it provides an easy-to-read dashboard interface that highlights in real-time all projector and screen statuses, as well as the overall progress of each playlist playback. Theater managers don’t have to move from station to station to manage devices and KDMs. They can remotely start, stop or pause any show on any screen from a single location.”
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Collaboration with Arts Alliance Media Praised
In creating Christie Avias-TMS™, Shaw emphasized the collaboration with long-term industry partner, Arts Alliance Media (AAM), Europe’s leading supplier of a host of digital cinema technologies and services. “In keeping with Christie’s practice of incorporating tried-and-true third party solutions into some of our products to quickly deliver immediate benefits to our customers, the core of our TMS was built on AAM’s current, strong TMS offering,” noted Shaw.
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Howard Kiedaisch, CEO of Arts Alliance Media, added, “We have worked with Christie since we first started in digital cinema and have always looked for ways of enhancing our partnership. As a manufacturer of digital cinema projectors, Christie boasts its own impressive engineering and development group, so it was only natural that the two of us as leaders in the industry would collaborate to the benefit of exhibitors across the globe.”
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Shaw also noted that, while TMS solutions offered by some server manufacturers are often ‘thrown in’ with the deal, “You get what you pay for, because these so-called ‘free’ solutions tend to limit the exhibitor to one brand of server, effectively preventing the exhibitor from using existing or new hardware from other manufacturers.”
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Christie Avias-TMS™ is all about choice for the exhibitor; it is OS and hardware neutral and does not mandate the expense of a specific Library Management Server (LMS). Furthermore, it fully supports all DCI-compliant DLP Cinema® projectors and servers, so it can be integrated seamlessly into any existing theater system.
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“Like a conductor leading the orchestra, Christie Avias-TMS™ provides full control of every facet of a theater’s operation, allowing the freedom to run with the most cost-effective hardware for each of the screens that make up the digital cinema system,” said Shaw. “No matter how many screens you are managing, the Christie Avias-TMS™ is the perfect solution for getting the job done with a minimal amount of effort.”