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but to comment on your comment Justin Fencsak and I’ve been beating a dead horse over this issue, the industry simply has NOT addressed the fact that not all the studios have yet to release their product ‘digitally’ – why make the conversion when the only digital product has been largely released from the major Hollywood studios? (However I’ve yet to see a Sony Classics release released as such). If and when 4K becomes readily more available, maybe and I hope the 2K systems come down in price for independent theatres. DCI is so busy trying to get the major chains the budget and means to convert to digital, but I’ve yet to hear of any other sort of committee to bring down the price of said systems to the theatres that need it the most – the independents. Case in point, why would the Landmark theatres chain install digital systems, when a good 75% of the films they book are 35mm releases only.
as I found out from the Executive Director the peeling paint issue is from improper priming of the ceiling surface, thankfully not from roof issues, but it’s estimated that it’s a $30,000 repair job.
how ironic. Even at the theatre’s end of run, the theatre and it’s presentations were always the best in picture and sound ‘Chicago’ ‘Finding Nemo’ ‘Saving Private Ryan’
The real memory though was being interviewed by Channel 5, which is right across the street from the theatre on opening day of ‘Indiana Jones and the Last Crusade’ my friends and I were near the beginning of the queue, enjoying some Armands pizza which we had delivered to us … in line… one friend though wasn’t really much into the antipation of the film, but informing the interviewer how good the pizza was – ah, good times!
and from Cinemark/Barco:
“Cinemark and Barco Sign Exclusive Partnership for the Delivery of Enhanced DLP Cinema® 4K Digital Projection”
This partnership continues Barco’s position as leader in the Digital Cinema market in the years to come
Digital cinema pioneer Barco is proud to announce that Cinemark Holdings, Inc. (NYSE: CNK), the world’s second largest motion picture exhibitor, has entered into an exclusive agreement with Barco. As part of this agreement, Cinemark is also partnering with the DLP Cinema® product group from Texas Instruments (TI) (NYSE: TXN) and media server provider Doremi to secure the industry’s best-in-class and brightest digital cinema solution. This group of partners, representing more than 100 years in combined cinema expertise, will employ the full spectrum of Barco’s upcoming new family of enhanced DLP Cinema next generation 4K projectors.
Cinemark plans to deploy digital cinema as part of the DCIP initiative. More than 3,000 digital projectors are to be installed in nearly 300 theater sites throughout the US, which include Cinemark’s Century, Cine Arts and Tinseltown brands. Every theater will show the industry’s biggest and brightest images, projected from Barco DLP powered projectors and driven by Doremi’s 4K integrated media block. The agreement also includes plans for Cinemark’s international locations in Latin America, which would bring the overall deployment to more than 4,600 screens.
“Cinemark has selected Barco not only for the quality of their projectors, but because they have the ability to partner with our team throughout the conversion process from 35mm to digital,” said Alan Stock, CEO of Cinemark Holdings, Inc. “We strongly support the DLP technology brought by our partners Barco and Texas Instruments as we believe it is the best in the industry in terms of quality, reliability and value. This will provide our customers the best viewing experience available.”
“We are thrilled in delivering the world’s first Barco DLP Cinema 4K solution to Cinemark” says Wim Buyens, VP business development for Barco Digital Cinema. Cinemark’s best-in-class solution will be based upon the marriage of proven DLP digital micro-mirror chipsets, in conjunction with Barco’s modular projector design, lighting up the biggest screens in the industry as large as 100 feet.
“Barco’s proven track record and commitment to digital cinema is a message that has resonated with Cinemark. Their team rigorously tested our projectors as well as our organization for service, training and long-term support,” noted Scott Freidberg, VP of Sales for Barco in North America. “We wanted to redefine the standard buyer/supplier model, and as we move forward with this world-class exhibitor, our mandate is to continue providing customers the best viewing experience and customer service possible.”
“The scope of this new partnership with Cinemark is impressive, both in quality and quantity, and we are honored to be selected as their exclusive digital cinema projection provider,” said Eric Van Zele, CEO of Barco. “The partnership perfectly underscores the principles by which we operate — the quality and reliability of our core technology, and the remarkable relationships that we build with our customers. These are the key reasons why we were selected by Cinemark, and in fact they are the fundamental qualities we uphold towards all of our customers.”
here’s Christie’s press release:
“Christie Introduces New 4K DLP Cinema® Product Line for 2010”
Industry Leader Supports Exhibitors with Five New 2K & 4K Resolution Projectors
Christie, the world leader in digital cinema projection, is pleased to introduce the new Christie Solaria™ series digital cinema projectors, based on Texas Instruments' (TI) (NYSE: TXN) industry-preferred and proven DLP Cinema® technology. The five new products in the series offer a wide range of resolution and brightness levels for exhibitors who require projection from the smallest to the largest screens. The new product line includes the Christie CP2210, Christie CP2220 and the Christie CP2230 —– all available at 2K and 4K-ready; as well as Christie’s premium 4K projectors for screens up to 100 feet: the Christie CP4220 and the Christie CP4230, delivering an unprecedented 30,000 lumens of brightness.
All projectors in the Christie Solaria series utilize Texas Instruments' next generation electronics which are designed to meet the Digital Cinema Initiatives (DCI) requirements. Each of the five projectors feature a new modular architecture for improved serviceability and ease of maintenance, an optional integrated media block, and incorporate Christie’s Brilliant3D™ technology for the most realistic and brightest 3D presentations. Additionally, due to the ability to deliver higher brightness with lower power lamps, all current and next generation Christie projectors offer up to 25% lower cost of operation than competing technologies.
“The successful implementation of more than 7,000 installations around the world has provided us with a unique wealth of knowledge and experience. We’ve achieved 99.999% reliability and have presented more than 10 million digital screenings; however, when we look beyond the numbers, our most critical learning has come from our exhibitor partners,” said Jack Kline, president and chief operating officer, Christie Digital Systems USA, Inc.
Kline continued, “As we move into the second decade of digital cinema projection, we recognize the need for our exhibitor partners to have an even wider choice of projectors to address the dynamic market landscape. Our current product line will continue to meet both exhibition and studios' immediate demand for both 2D and 3D presentations —-and in 2010 and beyond, our Solaria series will meet our customers expanded needs for choice in brightness, resolution and cost of operation. Based on the knowledge gained from our current worldwide installed base, we estimate that 80% of all screens will be 2K and the balance will be 4K for larger screens.”
The Christie CP2210, Christie CP2220 and the Christie CP2230 will be available in the first half of 2010. The Christie CP4220 and CP4230 will be available in the second half of 2010. Exhibitors interested in learning more about Christie’s full product line are invited to contact their Christie account manager.
note the press release/info I just posted in the “More Digital Projectors, Coming To A Theater Near You” story.
CineAmerica, TI (Texas Instruments) isn’t sitting on it’s hands – 4K in on the horizon from them as well.
well Texas Instruments aren’t idiots, 4K is in the cards from them as well:
Texas Instruments (TI) (NYSE: TXN) DLP Cinema® announced plans today to incorporate enhanced 4K technology as an extension of the next generation electronics platform for DLP Cinema projectors. Texas Instruments is recognized as the cinema technology provider offering solutions with low operating costs, and its inclusion of another resolution gives exhibitors worldwide the widest variety of options to fit their needs and screen sizes. TI will continue to innovate on and further the development of its DLP Cinema 2K chips which are indisputably the industry standard with nearly 11,000 installations globally.
Texas Instruments will deliver the enhanced DLP Cinema 4K chip to its licensees, Barco, Christie Digital and NEC which will extend the breadth of products to exhibitors to over 12 projector models. All projectors with the next generation DLP Cinema electronics platform, regardless of the resolution, will have the leading attributes for which DLP Cinema products are known, including precise DCI compliant colors, superior contrast ratios and light output necessary to illuminate the largest auditoriums. The solutions provide the capability to light up theatre screens as big as 100 feet and 3D screens as big as 75 feet, which has been a challenge for competing technologies.
Cinemark’s chief executive officer Alan Stock said, “Based on our decade of experience with DLP Cinema technology, its unmatched reliability has made it our exclusive platform of choice for 4K deployments. With no limitations on resolution, DLP Cinema allows Cinemark to truly deliver the highest-quality image to our customers.”
“Texas Instruments is proud of its contributions to the cinema industry and is absolutely committed to further innovation through DLP Cinema,” said Kent Novak, senior vice president and general manager of DLP Products. “DLP Cinema remains dedicated to its customers, and through shipping millions of units we are able to provide a significantly lower cost structure in comparison with our competitors.”
Previously announced at ShoWest 2009, the next generation DLP Cinema electronics platform combines the three boards needed to produce images into a single board. The result is a lower cost solution to DLP Cinema’s three OEM licensees. The next generation DLP Cinema platform works seamlessly with over eight server solutions and multiple 3D platforms.
DLP Cinema projection technology is installed in nearly 11,000 screens on every continent except Antarctica. Today there are over 4,300 worldwide screens that offer digital 3D with the use of every pixel array in the frame for the brightest picture unlike other technologies in the industry. Since last year’s introduction, IMAX® digital projection systems powered by DLP Cinema projectors have reached a total of 83 locations worldwide.
Regal just last weekend debuted two Sony systems at it’s Ballston Commons cineplex on Auditorium’s 6 and 7
well for example a distributor like Rialto Pictures, instead of striking new 35 prints would have to digitally convert a pristine print via 4K technology, retain or downrez to 2K playback and release it in harddisc form – how expensive or difficult that would be – ? I don’t know.
Personally I’d love to see these 4K restorations that Warner’s is doing with ‘Wizard of Oz’, ‘Gone With the Wind’ and others (released and projected as such) – making a one-night event like Fanthom/NCM does, showing classics on the big screen in true 4K – would be a fantastic idea!
until more studios actually release ‘films’ digitally – I don’t think all the theatres should jump on board. If digital is to survive, all the studios (major and independent) should make all the product playable on all the digital projection systems. A chain like Landmark that books independent, foreign and documentary features can’t feasibly convert if not everyone’s on board – it’s counterintuitive.
well, it WAS Warner’s decision to bump Potter from a November initial opening to July, why should ‘Transformers 2’ suffer??
let’s just hope the independent studios start actually releasing their ‘films’ digitally – some documentaries (that are shown at Landmark’s E Street DC theatre’s Sony 4K system)are being released as such (albeit in 2K), as well the feature film ‘Cherry Blossoms’ from Strand Releasing – which beautifully replicated how the film was originally shot, in hidef.
A good 85% of the films that are shown at the Silverdocs documentary festival, are shown digitally, if the trend is going to go digital, and that’s what the industry wants – then the product HAS to be there and available to the theatres that are making the transition to present digital projection. It’s pointless to go digital if every studio (large and independent) aren’t in the same boat – technically speaking.
wow, that’s a really depressing list
I only really go to the Gallery Place cinemaplex, but the pricing of the tix and concessions is very expensive compared to other Regal’s in and around the DC metropolitan area.
what’s the current deal with ‘Ice Age 3’ (3D)? – I remember hearing on NPR that Fox didn’t want to provide glasses for theatres showing ‘Ice Age 3’, the theatre chains balked and were threatening to book only it in standard digital projection and 35mm but not the 3D version – has there been a truce?
what’s dumb about the movies that are selected for IMAX presentations that neary 90 % of the films chosen are 2.35 scope films, that are supposed to be seen on a large W-I-D-E screen not a box like aspect ratio screen where black borders are above and below the image, of course it seems like a rip off when you can easily see that movie on a very large DLP/Sony 4K digital projection system and screen.
‘Harry Potter’ had 3D added to select scenes, but was not filmed with IMAX cameras/film stock.
and so far, AMC has lost my money twice now since I went over to both Smithsonian IMAX screesn to see ‘Star Trek’ and ‘Night at the Museum: Battle at the Smithsonian’ on the LARGE screens and not over to Hoffman in Alexandria Virginia
I’m VERY mad, I’ve written them two letter (via the mail) regarding this. The relunctance and slowness of converting one of the screens at the promised Tysons Corner multiplex is beyond unacceptable. They could easily save face by converting auditorium #3 that is large enough to be IMAX worthy – I got a letter from one of the managers over at Tysons that I’ve been meaning to call and talk to regarding this, but AMC in my opinion has nothing been hypocrites.
I thought NEC which is used at the Arclight and Ziegfeld were 4K ready?
we’ll see who’s quicker in installing these Regal or AMC.
DLP “Digital Light Processing” is trademarked to Texas Instruments, Sony’s is LCoS “Liquid Crystals on Silcone”, wonder how Fandango will denote in the future to differentiate between the two.
Don’t be fooled by the Fandango listing for ‘Angels & Demons’ denoting 4 screens showing this in digital projection – such a listing led me to think AMC was on the ball and actually installed three new Sony 4K systems in time for this 4K release, alas it wasn’t meant to be.
I remember I saw ‘The Elephant Man’ at this theatre.