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Speakers at the Locarno Future of Cinema SalonFuture of cinema, few know, few share, we dare do both! Let us embark for a trip a few decades ahead of us. The next stops on the festival circuit is Locarno with a panel held in partnership with the Festival, next stops will be Rome, Stockholm and many more Check out the video of Cannes events Fest21.com, CFC Media Lab and Telefilm Canada and Locarno Film Festival are proud to premiere our Future of Cinema Salon Series at the Locarno Film Festival. Future of Cinema Panel on Digital Distribution Which business models prevail in Europe, what is the status inSwitzerlan? Which content from film to opera and sports in the theatres? Which new consumers habits? What has 3D brought to the industry, Who are the new players to watch... Digital Cinema Initiatives (DCI) has played a decisive role in setting up standards, what is the role for the coming years? FEATURED SPEAKERS INCLUDE Bruno Chatelin: filmfestivals.com fest21.com co-founder; former distributor UGC-Fox, Sony, Fabrice Testa XDC International VP, Elisabetta Brunella (Mediasalles Secretary General), Amos Gitai (director) and other industry players tbc
Future of Cinema online Blog Coverage from the Locarno Series The Industry recognizes unanimously that Digital Distribution has brought major breakthrough solutions to distribution and exhibition of content in tomorrow's theaters and will overcome many of the limitations listed below. High Distribution Costs - The cost of sending films out to theaters across the country and around the world is fixed today based on the cost of the film prints themselves, anywhere from $1200-2000 per theater. Lack of Security linked with 35 mm prints - Distributors have little control over a film once it leaves their facilities. They have to hope that it's delivered safely to the appropriate theaters and doesn't fall into the wrong hands or is damaged along the way. Degradation Issues - As a movie is screened it becomes progressively more scratched and dirty, eventually demanding a replacement print. Limited Programming Flexibility - Currently theater owners are only set up to receive 35 mm films. Since the cost of film production is so high there's little content beyond major independent and studio movies that can afford to take advantage of a theater screening. Inflexible Advertising - Advertisers love advertising in theaters because they have a captive audience. But today's theater advertising is limited to slide shows and rarely a filmed ad. But again, given the costs of film distribution not many advertisers can afford to send a 35 mm reel to each theater and even if many advertisers did so, the theater owners aren't equipped to switch from one ad reel to the next. Streamlined Distribution - The distribution process will no longer involve bulky expensive film reels. Films can be sent digitally over the IP network to targeted theaters without ever having to duplicate a 35 mm reel. This streamlined distribution will pave the way for new programming options including concerts, sporting events, distance learning and more. Theater owners can program content quickly and easily, moving content from one auditorium to many, meeting market demand in a way they are currently unable to. Integrated Digital Rights Management - Digital theater content will be secured before it ever leaves the content owners facility. DRM will enable tracking and license serving so theaters and content owners know exactly when and where the content is accessed. Digital Preservation - The one thousandth time a digital movie is screened provides the same quality as the first time. There is no breakdown in the digital file as there is with film. Demographically targeted advertising - Digital ads can be served from one location and targeted to specific theaters based on content being shown in that theater to a particular demographic. What is the current International panorama of D Cinema, how many screens? Which business models prevail in Europe? Which content from film to opera and sports in the theatres? Which new consumers' habits? Will D cinema really help indie filmmakers reach a theatrical audience What has 3D brought to the industry? Who are the new players to watch? Digital Cinema Initiatives (DCI) has played a decisive role in setting up standards, what is the role for the coming years? List of digital cinema players Access Integrated Technologies, Inc. (AccessIT) - theater system integrator Arts Alliance Media (Arts Alliance Digital Cinema) - theater system integrator Barco - digital projector manufacturer Christie - digital projector manufacturer d2 - digital cinema integrator Deluxe Digital Studios - distributor and theater system integrator Digital Genius - digital cinema integrator Doremi Cinema - manufacturer of digital cinema servers and mastering systems Dolby Laboratories - theater system integrator intoPIX - JPEG 2000 compression for theater system Kodak - theater system integrator Motion Picture Solutions - Digital Cinema Mastering NEC - digital projector manufacturer RED Digital Cinema Camera Company - digital cinema camera manufacturer Sony - digital projector manufacturer Technicolor - distributor and theater system integrator Texas Instruments - developers of DLP projector technology Qube Cinema - manufacturer of digital cinema servers and mastering systems XDC - theater system integrator (partner of Cannes and Locarno Festival) Ymagis - theater system integrator 28.07.2008 | Editor's blog Cat. : 35 mm film Access Integrated Technologies Inc. Amos Gitai Bruno Chatelin Cannes Cannes D-Cinema Deluxe Digital cinema Digital Cinema Initiatives digital cinema servers and mastering systems digital distribution Digital media Dolby Laboratories Elisabetta Brunella Entertainment Entertainment Europe Fabrice Testa XDC International Film Independent film Kodak locarno Locarno Festival Media technology Motion Picture Solutions Movie theater RED Digital Cinema Camera Company Rome Sony Stockholm Switzerland Texas Instruments the Locarno Film Festival the Toronto International Film Festival Visual arts XDC
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