International Edition No. 24 - year 2 - 11 July 2007
In this issue of our newsletter we are again presenting content from the 2007 edition of the course DigiTraining Plus, accompanied by some opinions from participants.
In particular ample space has been given to the talk by Marco Del Mancino who, using a mathematical model, has elaborated a forecast on the spread of digital screens.
This is his reply to the question “When will digital screening become a fact for most of the world’s screens?”
A prediction model applied to the spread
of digital cinema
and gentlemen, good afternoon!
DigiTraining Plus 2007: the voice of participants
DE WAELE, Royal Belgian Filmarchive, Antwerp, Belgium
TÖRNBLOM, Folkets Hus och Parker, Stockholm, Sweden
HAAPIAINEN, SES Auditorium ltd, Helsinki, Finland
GUSTAFSSON and MICHAEL KRISTIANSSON, Facklan
Biografer AB (Fregatten Bio AB Filmhuset Facklan), Kungsbacka, Sweden
HOLTZ, Folkets Hus och Parker, Stockholm, Sweden
NIIRANEN, Steroscape, Helsinki, Finland
3D movies at DigiTraining
Fly Me to the Moon
New MEDIA Salles offices
On 30 June 2007 MEDIA Salles relocated
its offices to the Milan headquarters of Agis, Italy’s entertainment
News from Italy
In Pordenone an HD projector by Sim2
Pioneers of 3-D in Italy
For further information on Furlan
Group see the article published in the “Women in Digital Cinema”
column, in this issue.
Cannes Film Festival goes digital
The sixtieth Cannes Film Festival will certainly be remembered not only for the exceptional success of Romanian cinema, with the victory of directors Cristian Mungiu [4 Months, 3 Weeks and 2 Days] in the official competition and Cristian Nemescu [California Dreamin' (Nesfarsit)] in the parallel section, “Un Certain Regard”, but also for the considerable number of digital screenings. This would seem to confirm the vocation of a festival which, ever since its foundation, has set out to promote films with a balance between artistic quality and commercial value, whilst also keeping a careful eye on the continuing evolution of technology in the audiovisual sector. This year 31 titles were digitally screened in several theatres (including the prestigious Grand Théâtre Lumière), for a total of 84 showings in the various sections (Competition, Out of Competition, Midnight Screenings, Special Screenings, 60th Anniversary, Cannes Classics, Critics’ Week, Film Market, Directors’ Fortnight). Although most of these screenings regarded films from archives, such as Suspiria by the Italian Dario Argento, and documentaries, including He Fengming by the Chinese director Bing Wang, there was no lack of brand new feature films by famous US directors, such as Zodiac by David Fincher, Ocean’s Thirteen by Steven Soderbergh and Sicko by Michael Moore. Just as there was no lack of 3-D screenings, for instance the U2 concert, by Catherine Owens and Mark Pellington, which the participants at DigiTraining Plus 2007 had had a foretaste of, at a world pre-screening. The official Festival Partner for digital screenings was the Belgian company XDC which used DoReMi JPEG2000 servers and Christie and Kinoton projectors. In connection with this, Alain Remond, General Manager of XDC France comments: “Today, digital cinema allows all members of the production and delivery chain to have the opportunity to get their stories to screen the way they intended. Indeed, since more and more movies are digitally shot and post-processed, digital screening helps avoid expensive operations to convert to 35mm, which is particularly crucial for some independent films with limited budgets”.
I have been working for the Furlan Cinecity Group for 18 years and over this long period of time I have experienced, together with my company, all the transformations that have made it into what it is today – one of the leading Italian groups in the cinema exhibition industry.
In this respect, our investment in digital cinema – which began towards the end of 2004 – is certainly one of the most important and “courageous” turning points, particularly when taking into account the “pioneer” spirit in which the Furlan Group started out on the long path to the new technology, which in practice represents the future of cinema.