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.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More