By Carolyn Giardina
One of the reasons for watching the cinema production and exhibition space so closely is that sweeping changes are afoot, and they will likely prompt changes in the way cinema commercials are produced and delivered.
As many of you know, theaters are beginning to convert from film to digital cinema projection systems. There are currently an estimated 350 digital cinema screens installed in U.S. theaters, and it is widely believed that that number will exceed 1,000 by the end of the year.
These installed projectors generally support a resolution known as 2k. Resolution in this data form is measured in “pixels,” and 2k is made up of 2048 horizontal pixels by1556 vertical pixels. (For comparison, the 1080 HD that is discussed in digital television issues has a resolution of 1920 horizontal pixels by 1080 vertical pixels.)
Hollywood studios typically post features for digital cinema release in 2k, but some are looking to finish movies in a still higher resolution, known as 4k, which is made up of four times the amount of data in 2k.
Meanwhile, Sony is suggesting that 4k cinema projection should also be considered, and has started to roll out its SXRD 4k digital cinema projector. It has already been installed in a few digital cinema theaters, where features that were posted in 2k are upconverted to 4k and screened for paying audiences.
Another 4k projector was recently installed for evaluation purposes at the AMC Theaters, Century City 15 in Century City, Calif. And beginning May 19, it has been showing Sony Pictures’ The Da Vinci Code, which was posted in 4k at Hollywood-based post house E-Film.
This theater’s The Da Vinci Code presentations are believed to be the first U.S. screenings of a 4k posted and mastered motion picture on a 4k projector for paying audiences, enabled by the full Sony digital cinema projection system. That includes Sony’s SXRD 4k projector and Media Block server system, which stores and handles playout of the movie in the theater.
As part of the evaluation process, Sony invited representatives from the studios and digital cinema community to a screening event (the press was also invited). In addition to the feature, the presentation began with several trailers–including Disney’s Cars, Warner Bros.’ Lady in the Water and Sony Pictures’ Casino Royale–posted in 2k and upconverted for 4k projection. This gave stakeholders a look at what 2k posted pre-show content can offer to theaters that are equipped with 4k projection.
Some stakeholders believe that for digital cinema theaters–whether they offer 2k or 4k projection–trailers, commercials and other pre-show content will typically be posted in 2k. This means that potentially, instead of film deliverables, commercial makers may be delivering data on some form of hard drive for theatrical release. Electronic distribution is also being discussed. It is unclear what form this would eventually take.
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More