quote: Scott Norwood

---

which is why I don't see DLP being very helpful for independent/low-budget films

---

quote: Jeffry L. Johnson

---

I'm sure Michael Coate will make additions and corrections.

---

quote:

---

Content Film and Magnolia Pictures
    Wendigo

Emerging Pictures
    Ballad of Bering Strait

Lions Gate
    Shattered Glass
    The Cooler
    Step Into Liquid
    Standing in the Shadows of Motown

Palm Pictures
    The Eye

Showtime
    The Maldonado Miracle (Shown at Sundance 2003)
    Speak (Shown at Sundance 2004)

Sony Picture Classic
    Masked and Anonymous (Shown at Sundance 2003)
    Masked and Anonymous (Shown in theaters)
    Once upon a time in the Midlands
    The Cuckoo
    Fog of War
    Riding Giants (Shown at ShoWest 2004)
    Carandiru (Shown at Sundance 2004)
    Baadasssss! (Shown at Sundance 2004)

Strand Releasing
    Party Monster

Vitagraph
    The Revolution will not be Televised
    Love Object

Wellspring
    Russian Ark

Innovation Film Group (IFG)
    A Foreign Affair (shown at Sundance 2003)

Propaganda Films
    Southlander

Windline Films
    Confessions of a Burning Man

Rubicon Film Productions Ltd
    Raising Flagg

---

 

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Posted by Andrew McCrea (Member # 674) on 07-22-2005, 01:51 PM:
 
The reason I ask is because: The studios are saying "convert, convert", but what's the point if only a handful of movies are being released in that format anyways?
 

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Posted by Scott Norwood (Member # 30) on 07-22-2005, 02:48 PM:
 
Who is telling theatres to convert?

I'm sure that the distributors would like to reduce their costs, but it seems that everyone now realizes that there isn't yet a workable business model for wide-scale DLP implementation that is fair to both distributors and exhibitors. Until this happens, and until the file format and distribution media are standardized, I don't think that anyone seriously expects exhibitors to go out and buy DLP hardware.

Of the 100-odd DLP screens in the US, how many were paid for outright by the exhibitor at retal price levels, without some sort of lease deal or promotional pricing? I suspect that the answer is zero. I'd be amazed if it were more than a small handful.
 

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Posted by Bernie Anderson Jr (Member # 410) on 07-22-2005, 04:46 PM:
 
I'm goning through a Digital Preshow installation in my theatre by Screenvision/Technicolor. This is a network of projectors that work off of a signle server with what they call "Friend" computers at each screen. These projectors have been in now for 2 months and all they do is fail; either they freeze or they fail all together. If this is any sign of how DLP Digital networking is gonna be, keep the crap!

My bet is on something like IMAX. Over this past weekend between Batman and Charlie, IMAX grossed 5 Million over 150 some screens. Mark my words, it is the future.
 

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Posted by Frank Angel (Member # 248) on 07-23-2005, 07:28 PM:
 
Anyone who has ANY experience with computers knows that the ONE thing they are not is reliable. Period. I use a computer to do one simple, easy task. Play audio content in MP3 format from a hard drive for Music-on-Hold for our telephone system. It craps out at least once a week, sometimes even more. Big window in the middle of the screen says "This program has performed an illegal action and will be terminated." How would you like THAT to show up on your screen in the middle of a movie? An old CD player is more reliable. In fact, computers are the only technology that I know of where we tolerate outragously bad performance. Can you imagine buying a television set or a DVD player or a WASHING MACHINE that would stop in the middle of whatever it was doing and you had to turn it off and "reboot" it to get it going again? It would be boxed up and returned as DEFECTIVE, yet a computer does this on a routine basis and we accept it.

Tell me video projectors are going to be the wave of the future and you might catch my attention (for about 15 seconds), but preface that by saying "and they are going to run on a computer network server," and well....
 

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Posted by Michael Coate (Member # 757) on 07-31-2005, 09:46 PM:
 
In current release:

The Island
Sky High
 

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Posted by John Pytlak (Member # 331) on 08-02-2005, 01:36 PM:
 
Four US theatres with Kodak 2K Digital Cinema Systems.

Watched "The Island" last week at the Cinemark Tinseltown-16 here in Rochester. The Kodak system is on their largest screen, #9.
 

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Posted by Martin Brooks (Member # 1269) on 08-03-2005, 10:21 PM:
 
OK, John, so how about a technical review? How did it look?

I saw it at the Ziegfeld in NYC. I thought it looked pretty good, except for some closeups where the faces looked liked over-compressed and over saturated Photoshop images, but I don't know if it also looks that way in the 35mm version.
 

---

Posted by John Pytlak (Member # 331) on 08-04-2005, 12:05 PM:
 
The presentation that I saw looked excellent. Had to get about ten feet from the 60-foot wide screen before I saw the pixels. Image quality was very good, and "filmic" --- a well done transfer. Good black levels. At times, some colors seemed too vivid (e.g., red warning lights).
 

---

Posted by Michael Coate (Member # 757) on 08-30-2005, 05:32 PM:
 
In current release:
The American Ruling Class
Valiant

Upcoming:
Flight Plan (9/23)
Serenity (9/30)
Chicken Little (11/4)
King Kong (12/14)
 

---

Posted by Joseph L. Kleiman (Member # 3097) on 08-30-2005, 05:43 PM:
 
At ShoWest, TI gave me a list of films released in DLP through March 14 of this year. There were 145 films listed between Star Wars Ep. I and Robots. Some of them were exclusive to the Asian or European markets. I'll try to post the list on my website and link to it this evening when I get back from the brewpub. Cheers

Also, keep in mind that digital prints are sometimes created only for special events. At this year's ShoWest, Miss Congeniality 2 (I won't comment on this film which I had the joy of sitting through) was projected on a CP2000, as was an hour of Stealth. However, both films were released theatrically only in 35mm.
 

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Posted by Josh Kirkhart (Member # 1046) on 08-31-2005, 02:10 AM:
 
Michael,

I have been informed Universal is not doing digital releases at this point, which would exclude 'Serenity' and 'King Kong'. Which is sad because there has been a lot of interest in 'Serenity' locally and cities as far away as 400 miles.

In a direct call to the Buena Vista people for advertising materials and such they were insistant that Chicken Little would not be digital.

Which leaves 'Flightplan' as the only known future release so far as I can get info on.

Any details you have would be great.

So, this leads me to ask, no, SCREAM, if this is the future, where is the content? Two machines sitting dark while the 35mm hums along. 'The Island' lasted only two weeks in digital release, and not a darn thing since Sky High.

Sky High....where was it, I built up the 35mm print instead of monitering a download(which I personally prefer 35, but thats besides the point). Rumors that Buena Vista is doing exclusive engagements with certain equipment installs, excluding the Christie/AccessIT combo is all I have.

If theatres are going to take a chance(and I smell Regal making a big buy mid next year) on this technology, shouldn't we be offered product. Hell, one release a month is not much to ask.

rant over.

[ 08-31-2005, 03:33 AM: Message edited by: Josh Kirkhart ]
 

---

Posted by Joseph L. Kleiman (Member # 3097) on 08-31-2005, 03:49 AM:
 
Josh,

Your information regarding Universal and Buena Vista is incorrect. While I can't comment on Serenity, I can verify that, although not announced, plans are in the works for a digital release of King Kong. As for Chicken Little, the film will be released in digital 3D on the REAL D system, which is a DCI compliant system using a Dolby Digital server and Christie CP2000 DLP Cinema projector. www.worldenteractive.com/chicken.htm
 

---

Posted by Josh Kirkhart (Member # 1046) on 08-31-2005, 12:22 PM:
 
Okay, this would be the reason I threw tht stuff out there, to get the info. Thank You

As for Chicken Little, why is it only restricted to the Dolby Server(which confirms what was being said about BV films). I'm sure that thier are some software differences, but why limit these releases. If we are already starting software, firmware, and distributing exclusivities, this will never go where it is believed.

Universal starting to release digitally would be great news, can't wait for the announcement.
 

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Posted by Mike Blakesley (Member # 26) on 08-31-2005, 12:36 PM:
 
Saw a digital/3D demonstration at the new Regal cinema in Coeur d'Alene during the Great States convention this year. Unfortunately I didn't have a camera with me (they weren't allowing pictures anyway, somebody told me.)

The digital images looked great. The 3D was another matter. While I would have to say it's the best-looking 3D I've ever seen, would it put a movie into the "must see" category just because it's in 3D? Not on your life. And having to wear those damn uncomfortable glasses (which are battery operated, for some reason) is just a deal breaker as far as I'm concerned.

Just to keep this on topic -- there was virtually no announcements made of what films would be released in digital -- but I suspect that's because the film people know there are no digital projectors in this region yet.
 

---

Posted by Joseph L. Kleiman (Member # 3097) on 08-31-2005, 12:46 PM:
 
Josh,

We're entering this phase where alliances are starting to develop in the digital cinema world.

Access Integrated/Christie

Dolby/Christie (REAL D system)

Barco/Kodak

Expect these companies to pursue exclusive content to push sales of their systems. It's somewhat like IMAX DMR being exclusive to IMAX. You might have a 1570 system from another company, but you can't play the IMAX exclusive films because you don't have an IMAX projector. However, there will also be plenty of crossover content available for different configurations of servers and projectors.

On Chicken Little, the entire install cost is being handled by both Disney and Dolby. There will be 100 REAL D systems installed for the film, which will then be permanent. These same systems will be showing Monster House in digital 3D next year.
 

---

Posted by Michael Coate (Member # 757) on 08-31-2005, 12:48 PM:
 

quote: Josh Kirkhart

---

Universal starting to release digitally would be great news, can't wait for the announcement.

---

quote: John Pytlak

---

Four US theatres with Kodak 2K Digital Cinema Systems.

---

Century Orleans 18, Las Vegas, NV
CineMark Tinseltown USA, Gates, NY
Classic Elk Grove, Elk Grove, IL

John, what's the fourth?
 

---

Posted by Josh Kirkhart (Member # 1046) on 08-31-2005, 01:25 PM:
 
Michael
Was refering to releases on a regular basis. I read the list on the previous page and was aware of those releases. Sorry for the misstatement

Joseph
Thanks for the breakdown, This is the type of info I was looking for. Is there any good sites or forums to keep up with these deals and Digital Projection info?

In the future/or now, will it be possible to have multiple server systems on one machine to take advantage of the exclusives? Like with Christie, adding a Dolby Real D sever to a Christie DP2000 DLP. Would imagine it being like using ETS or Technicolor.

THanks for the info everybody.
 

---

Posted by John Pytlak (Member # 331) on 08-31-2005, 02:10 PM:
 
I've heard the fourth Kodak Digital Cinema installation was at a theatre in Florida. More on the way soon.
 

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Posted by Michael Coate (Member # 757) on 08-31-2005, 02:17 PM:
 
John,
These are the D-Cinema locations in Florida I'm aware of. Any of 'em ring a bell?

Daytona Beach: R/C Ocean Walk Movies
Lake Buena Vista: AMC Pleasure Island 24
Pinellas Park: Regal Park Place Stadium 16
West Melbourne: CinemaWorld 16
 

---

Posted by John Pytlak (Member # 331) on 08-31-2005, 02:47 PM:
 
I think it's the Pinellas Park, but I'm not sure. I do know that it is a 2K system. You should check with our D-Cinema team in Hollywood (e.g., Sean Lohan, Drena Rogers).
 

---

Posted by Joseph L. Kleiman (Member # 3097) on 08-31-2005, 03:09 PM:
 
Josh,

First, you could try my site which covers both digital and large format cinema. On the digital side, we've been concentrating a bit more lately on the 3D technology, although we try to get as much posted about the whole digital deployment as possible. I'm expecting a big announcment in the next couple of weeks from Access. They were supposed to have signed with three studios and a major circuit by today.

www.worldenteractive.com/clarity.htm

The other site is dcinematoday. It's an inventory of practically every digital cinema press release issued.

www.dcinematoday.com

There are also the websites for Dolby, QuVis, Technicolor, Access Integrated, Barco, NEC, and Christie and others. Not to mention everybody's favorite - KODAK!!!! John is without a doubt one of the best sources when it comes to Kodak's plans. However I became concerned when I read on another website that he wants to be an IMAX projectionist!

So John - I have a few questions: Are the installed Kodak digital cinema systems using Barco projectors? And is the system at the Orleans the same one I saw From Dust to Glory on during ShoWest or is this a new install? Finally, did you get the job in Providence?

Joe
 

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Posted by Josh Kirkhart (Member # 1046) on 08-31-2005, 03:29 PM:
 
Thanks Joseph, those sites will keep me busy for a bit.

So far we have only presented 'Island' and 'Star Wars'at the Highland 10 in Austin with two Christie DP2000 DLP projectors and AccessIT servers. 'Course the cinnemacanicas next to them do most of the work. So far we have only presented 'Island' and 'Star Wars'.
 

---

Posted by John Pytlak (Member # 331) on 08-31-2005, 03:48 PM:
 
The gig as an IMAX projectionist was intriguing since my daughter lives within commuting distance of Providence (and several other IMAX theatres), and it would be nice to live near our grandchildren when I partially retire. I've worked with Jim Didio when he was at the Syracuse MOSI IMAX Dome theatre.

For specific information about the Kodak Digital Cinema system, you really need to ask the key Digital Cinema team members, some of whom are based in Kodak's Hollywood office.
 

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Posted by Joseph L. Kleiman (Member # 3097) on 08-31-2005, 03:57 PM:
 
Thanks John. I'll give Sean a holler. If you're going to GSTA next month, I'd like to get together and chat (maybe over some drinks).
 

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Posted by John Pytlak (Member # 331) on 08-31-2005, 04:02 PM:
 
Unfortunately, I will not be at GSTA. Bev Pasterczyk will likely be there though.
 

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Posted by Michael Coate (Member # 757) on 08-31-2005, 04:23 PM:
 

quote: Josh Kirkhart

---

So far we have only presented 'Island' and 'Star Wars'at the Highland 10 in Austin with two Christie DP2000 DLP projectors and AccessIT servers.

---

quote: Josh Kirkhart

---

Is there any good sites or forums to keep up with these deals and Digital Projection info?

---

quote:

---

First, you could try my site which covers both digital and large format cinema. The other site is dcinematoday. There are also the websites for Dolby, QuVis, Technicolor, Access Integrated, Barco, NEC, and Christie and others. Not to mention everybody's favorite - KODAK!!!!

---

[clearing throat] hey!!!...what about www.FromScriptToDVD.com?
 

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Posted by Joseph L. Kleiman (Member # 3097) on 08-31-2005, 05:28 PM:
 
Josh asked:

quote: Josh Kirkhart

---

Is there any good sites or forums to keep up with these deals and Digital Projection info?

---

For the latest developments in d-cinema, dcinematoday is a great site. I wouldn't recommend it for its database, but its PR archive is huge and they're one of the first sites to post PR's as they're released.

When it comes to what's showing and where, the best place to look is fromscripttodvd
 

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Posted by Scott Norwood (Member # 30) on 08-31-2005, 05:30 PM:
 
I thought that the whole point of DCI was to ensure that a theatre owner could buy/lease whatever system (Kodak, Dolby, Access, etc.) met his needs and then play any digital "print" on it. This would be like today's situation, where theatres can choose among Simplex, Century, Kinoton, etc. and play any print on any machine (and labs can choose among Kodak, Fuji, Agfa, etc. for print stock).

Is this turning out not to be the case? If this is going to be like the Betamax vs. VHS battle or like the early days of digital film sound, no sane theatre owner would risk taking a chance buying what may turn out to be a very expensive "Betamax" (or SDDS) in a few years.
 

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Posted by Joseph L. Kleiman (Member # 3097) on 08-31-2005, 05:46 PM:
 
DCI-compliant servers and projectors are interchangable and all correspond to the specifications set forth by both DCI and SMPTE's DC-28 group. The problem lies when you have companies like AccessIT, which primarily runs a distribution network, supplying projectors and servers, or Dolby Digital Cinema, which both supplies servers and distributes features. What's to keep these companies from offering exclusive content if you sign with them, as they not only supply the equipment, but distribute the software as well?
 

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Posted by Steve Guttag (Member # 268) on 08-31-2005, 05:49 PM:
 
I coulda sworn that the Chicken Little roll out was to be with 300 or so sites...is it down to 100 now? And this exclusivity better not be with the brand of projection equipment or you better not blow your money now.
 

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Posted by Joseph L. Kleiman (Member # 3097) on 08-31-2005, 05:59 PM:
 
Chicken Little has always been at 100 screens. Monster House is scheduled to be "more than 100." When I interviewed the guys at REAL D, they said they expected to have around 1000 screens next summer worldwide. However, they are agnostic as to server or projector. The 100 systems being installed for Chicken Little are being paid for entirely by Disney and Dolby and use Dolby Digital servers and Christie CP2000 DLP projectors. The theaters will be permanent and when the REAL D software is not being used for 3D, they will be able to show conventional 2D digital content through the server and projector. Other REAL D theaters may end up using other combinations of servers and projectors.
 

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Posted by Gordon McLeod (Member # 33) on 08-31-2005, 07:02 PM:
 
Joseph said "What's to keep these companies from offering exclusive content if you sign with them, as they not only supply the equipment, but distribute the software as well?"
Well the descent decrees against western electric and erpi for one
 

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Posted by Joseph L. Kleiman (Member # 3097) on 09-01-2005, 08:52 AM:
 
Currently showing in DLP Cinema in limited distribution:
The American Ruling Class
 

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Posted by Michael Coate (Member # 757) on 09-01-2005, 09:00 AM:
 
Joe,
"The American Ruling Class" was previously mentioned (second post, page two). DLP presentation is at The Bridge in Los Angeles.
 

---

Posted by Joseph L. Kleiman (Member # 3097) on 09-01-2005, 09:07 AM:
 
Yes, Mike. But no mention of it being in limited release - and no link. Had to add the link.
 

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Posted by Michael Coate (Member # 757) on 09-01-2005, 09:20 AM:
 
All DLP releases are in "limited distribution."
 

---

Posted by Joseph L. Kleiman (Member # 3097) on 09-01-2005, 09:22 AM:
 
Limited release a la NY and LA
 

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Posted by Scott Norwood (Member # 30) on 09-01-2005, 09:28 AM:
 
I'm sure that someone has posted about this before and I missed it then, but how does the DLP 3D system work? Does it use two projectors with polarized lenses, an anaglyph process, a sequential-field interlaced process, or something else? Does it require a special server and/or projector, or does it work with any system?

Is the 3D effect comparable to that which can be achieved with a 2-strip 35mm Polaroid system?
 

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Posted by Joseph L. Kleiman (Member # 3097) on 09-01-2005, 09:31 AM:
 
www.worldenteractive.com/threshold.htm
 

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Posted by Michael Coate (Member # 757) on 09-27-2005, 01:23 PM:
 
In current release:
Flightplan
Tim Burton's Corpse Bride
 

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Posted by Michael Coate (Member # 757) on 10-31-2005, 03:32 AM:
 
Forthcoming DLP Releases:

Chicken Little (Nov. 4)
Harry Potter And The Goblet Of Fire (Nov. 18)
The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe (Dec. 9)
King Kong (Dec. 14)
 

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Posted by Michael Coate (Member # 757) on 11-04-2005, 02:40 AM:
 
In Current Release
Chicken Little
Oliver Twist (international)

Forthcoming DLP Releases
Harry Potter And The Goblet Of Fire (Nov. 18)
The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe (Dec. 9)
King Kong (Dec. 14)
Glory Road (Jan. 13)
 

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Posted by Josh Kirkhart (Member # 1046) on 11-15-2005, 03:37 AM:
 
I'm told 'King Kong' will not be released in Digital until next spring if at all. Mainly because of conversion time and lack of a final cut.

And you can add 'Cassanova' to the list.
 

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Posted by Joseph L. Kleiman (Member # 3097) on 11-17-2005, 10:38 AM:
 
If a film is being run through post through a digital intermediate (DI), it doesn't matter. The digital print for The Island was completed with final color timing and editing only an hour before its New York premiere.
 

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Posted by John Pytlak (Member # 331) on 11-17-2005, 11:26 AM:
 

quote: Joseph L. Kleiman

---

If a film is being run through post through a digital intermediate (DI), it doesn't matter. The digital print for The Island was completed with final color timing and editing only an hour before its New York premiere.

---

quote:

---

ADDITIONAL KODAK SERVICES — THROUGH KODAK'S LASERPACIFIC SUBSIDIARY:
Complete end-to-end motion picture digital postproduction services
2K and 4K digital intermediates
LaserFilm recording services from digital intermediates
One-stop digital cinema mastering services, including:
Encoding
Encryption
Digital source master creation
Digital cinema distribution master packaging
...with full compatibility with KODAK CineServer

---

quote:

---

"The New Post Production Workflow: Today and Tomorrow by Leon Silverman, from the book Understanding Digital Cinema (PDF)": Our team has dedicated itself to creating viable, affordable and innovative options that open up the creative toolbox for the creative community. LaserPacific’s visionary and unique solutions have helped to revolutionize the industry, offering end to end post production services for the motion picture and television industry featuring Kodak image and color science.

---

 

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Posted by Joseph L. Kleiman (Member # 3097) on 11-17-2005, 11:38 AM:
 
That's a great book for anyone wanting an understanding of the entire d-cinema process. I also enjoyed Leon's keynote at the Digital Cinema Summit at NAB last April.

As for The Island, my facts were slightly off, but I attribute that to my current hangover.

This is from The Hollywood Reporter (C) VNU Media:

quote:

---

July 25, 2005

Sea of digital firsts floated 'Island'

By Sheigh Crabtree

With myriad creative options available to directors in postproduction these days, it's no wonder that locking the final picture can come right down to the wire.

In the case of DreamWorks' "The Island," director Michael Bay had postproduction crews dropping in visual effects shots and color-correcting sequences hours before the movie debuted Friday in 3,122 theaters. The harrowing race to the finish required not only the film finishing crews to pull all-nighters but also Marty Cohen, DreamWorks' head of postproduction.

While the movie was not a home run in terms of its opening weekend, it represents the cutting edge of what can be done in digital postproduction. Advance audiences and moviegoers this weekend saw a picture processed through a digital workflow comprised of some of the latest tools available to filmmakers. "The Island's" photo finish required that a few of the preview screenings, such as the New York premiere and the Los Angeles cast and crew's, test the limits of emerging digital cinema technology.

"It was definitely down to the wire," said Company 3's (CO3) Carrie Holecek, executive producer of digital intermediate.

The Santa Monica boutique oversaw the "Island" trailers, studio screenings, high definition previews, color correction, final film recording, digital cinema masters and video deliverables. For CO3 the biggest challenge they faced was adding last minute creative requests to action packed sequences after the picture was presumably locked. Those changes had to be integrated into the digital intermediate master and then re-mastered for d-cinema projection.

"We use an iQ (Quantel's latest digital mastering tool) that allows us to import and look at the results in real time — instantaneously, there's no loading and no proxies," Holecke said. "You drop it in and it's live right in the (screening) room. A director like Michael Bay, or any demanding filmmaker, can really appreciate the instant integration of a new shot or a fix, and see it right away on a movie screen."

The workflow on the "Island" required that the film be scanned and color corrected at a high quality 2K resolution. The DI files were matched to a look-up table, a video translation of analog film color, that emulates the look of the Kodak Premiere filmstock. Then picture files were synched up to a lush 24-bit 6-track audio printmaster that came over on DVD from Sony Pictures' sound postproduction group.

The image and sound files were then transferred into a DVS Clipster for the digital cinema mastering, according to Steven B. Cohen, who oversaw the d-cinema master for CO3. "The Clipster was the only machine that could output dualstream 4:4:4 RGB (a digital approximation of the rich color of analog film) that would be convenient to load in from our (shared area network)," he said.

Via a dual fiber channel, the disc files were captured frame by frame and played out in the latest QuVis Acuity digital cinema deck, that handles the highest resolution digital color for cinema. Cohen built individual reels and scripted a playlist, then set up a quality control screening room at CO3 on a Barco digital projector. The "Island's" digital master was finished the very morning of the New York premiere. The master files were then delivered within hours to the Ziegfield in Manhattan to play on a Christie CP-2000 on a 60-foot screen. The final 2K digital picture was accompanied by verdant Dolby digital sound in the theater with the d-cinema master files totaling 250 gigs stored on two drives.

Whatever the ultimate success of "The Island," it is a leader in the future of digital postproduction.

---

 

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Posted by Brian Guckian (Member # 1678) on 11-17-2005, 04:46 PM:
 
That's truly amazing...and very scary as well. It means that there really isn't a final cut anymore. Presumably they can go on tweaking things or making more radical changes onwards into the release period...
 

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Posted by Joseph L. Kleiman (Member # 3097) on 11-17-2005, 06:16 PM:
 
It was mentioned at the Digital Cinema Summit. They used the Pixar films as an example, where a few weeks into the run, the final reel is switched out to one that includes bloopers. In d-cinema, the changeover takes only a few minutes. But they did say that whole elements could be changed in the midst of a run to give new life to a film. George Lucas must be salivating over this capability.
 

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Posted by Michael Coate (Member # 757) on 01-17-2006, 02:00 PM:
 
In Current Release
Chicken Little
Harry Potter And The Goblet Of Fire
The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe
Casanova
Glory Road

Forthcoming Releases
Annapolis (Jan. 27)
Eight Below (Feb. 17)
The Shaggy Dog (Mar. 10)
The Wild (Apr. 14)
Over The Hedge (May 19)
Cars (Jun. 9)
 

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Posted by Louis Bornwasser (Member # 3063) on 01-17-2006, 04:24 PM:
 
With no final cut; Academy voting will be problematic. Louis
 

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Posted by Michael Coate (Member # 757) on 01-28-2006, 11:41 PM:
 
In Current Release
Chicken Little
Harry Potter And The Goblet Of Fire
The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe
Casanova
Glory Road
The Visitation
Annapolis

Forthcoming Releases
Eight Below (Feb. 17)
The Shaggy Dog (Mar. 10)
Ice Age 2 (Mar. 31)
The Wild (Apr. 14)
Apocalypto (Apr. 28)
Over The Hedge (May 19)
Cars (June 9)
Monster House (July 21) (Real D)
Meet The Robinsons (Dec.) (Real D)
 

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Posted by Mark J. Marshall (Member # 1409) on 01-29-2006, 12:12 PM:
 
Too bad Cars isn't Real D.
 

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Posted by Michael Coate (Member # 757) on 02-18-2006, 07:04 PM:
 
In Current Release
Eight Below

Forthcoming Releases
The Shaggy Dog (Mar. 10)
She's The Man (Mar. 17)
Ice Age 2 (Mar. 31)
The Wild (Apr. 14)
Apocalypto (Apr. 28)
Over The Hedge (May 19)
Cars (June 9)
Pirates Of The Caribbean: Dead Man's Chest (July 7)
Monster House (July 21) (Real D)
Flushed Away (Nov. 3)
Meet The Robinsons (Dec.) (Real D)
Shrek 3 (May 1, 2007)
Transformers (July 6, 2007)
 

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Posted by Josh Kirkhart (Member # 1046) on 03-11-2006, 03:15 AM:
 
Shaggy Dog opened today in 818 scope format.

'V for Vengence' from Warner Bros. next week 03-17-06
 

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Posted by Michael Coate (Member # 757) on 03-14-2006, 01:25 AM:
 
In Current Release
Eight Below
Aquamarine
The Shaggy Dog
V For Vendetta
She's The Man

Forthcoming Releases
Ice Age 2 (Mar. 31)
The Wild (Apr. 14)
Apocalypto (Apr. 28)
Poseidon (May 12)
Over The Hedge (May 19)
Cars (June 9)
Superman Returns (June 30)
Pirates Of The Caribbean: Dead Man's Chest (July 7)
Monster House (July 21) (Real D)
Flushed Away (Nov. 3)
Meet The Robinsons (Dec.) (Real D)
Shrek 3 (May 1, 2007)
Transformers (July 6, 2007)

[ 03-18-2006, 09:08 PM: Message edited by: Michael Coate ]
 

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Posted by Michael Coate (Member # 757) on 03-31-2006, 10:48 PM:
 
In Current Release
Eight Below (Buena Vista)
Aquamarine (Fox)
The Shaggy Dog (Buena Vista)
V For Vendetta (Warner Bros.)
She's The Man (DreamWorks)
Inside Man (Universal)
Stay Alive (Buena Vista)
ATL (Warner Bros.)
Ice Age: The Meltdown (Fox)

Forthcoming Releases
The Wild (Apr. 14; Buena Vista)
The Sentinel (Apr. 21; Fox)
Stick It (Apr. 21; Buena Vista)
Mission: Impossible III (May 5; Paramount)
Poseidon (May 12; Warner Bros.)
Over The Hedge (May 19; DreamWorks)
X-Men: The Last Stand (May 26; Fox)
Cars (June 9; Buena Vista)
Superman Returns (June 30; Warner Bros.)
Pirates Of The Caribbean: Dead Man's Chest (July 7; Buena Vista)
Monster House (July 21; Sony; Real D)
Apocalypto (Aug. 4; Buena Vista)
Flushed Away (Nov. 3; DreamWorks)
Meet The Robinsons (Mar. 30, 2007; Buena Vista; Real D)
Shrek 3 (May 1, 2007; DreamWorks)
Transformers (July 4, 2007; DreamWorks)
 

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Posted by Paul Konen (Member # 41) on 04-02-2006, 01:24 AM:
 
Mike, can you add whether they are MPEG or JPEG2000 formats?

I think FOX is only doing JPEG2000.

[ 04-02-2006, 01:25 PM: Message edited by: Paul Konen ]
 

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Posted by Michael Coate (Member # 757) on 05-02-2006, 10:10 PM:
 
In Current Release
Ice Age: The Meltdown (Fox)
Inside Man (Universal)
RV (Sony)
The Sentinel (Fox)
Silent Hill (Sony)
Stay Alive (Buena Vista)
Stick It (Buena Vista)
V For Vendetta (Warner Bros.)
The Wild (Buena Vista)

Forthcoming Releases
Mission: Impossible III (May 5; Paramount)
Goal! (May 12; Buena Vista)
Poseidon (May 12; Warner Bros.)
The Da Vinci Code (May 19; Sony)
Over The Hedge (May 19; DreamWorks)
X-Men: The Last Stand (May 26; Fox)
The Break-Up (June 2; Universal)
Cars (June 9; Buena Vista)
Superman Returns (June 30; Warner Bros.)
Pirates Of The Caribbean: Dead Man's Chest (July 7; Buena Vista)
Monster House (July 21; Sony; Real D)
Apocalypto (Aug. 4; Buena Vista)
Flushed Away (Nov. 3; DreamWorks)
Dreamgirls (Dec. 21; DreamWorks-Paramount)
Meet The Robinsons (Mar. 30, 2007; Buena Vista; Real D)
Shrek The Third (May 1, 2007; DreamWorks)
Transformers (July 4, 2007; DreamWorks)
 

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