The course
Focus on the speakers
Next to his work for the NVB, Ron is managing director at Cinema Digitaal BV. The foundation works with a unique national and collective approach which will see all Dutch cinemas digitalized by the autumn of 2012.
Ron Sterk has extensive experience in cinema and movies and has been managing director at Minerva Cinema's for 11 years.
Since 2006, Silvana Pasqualino has been working in the EACEA - Education, Audiovisual & Culture Executive Agency. Before joining the Media unit in July 2009, she worked for the culture and youth units. She is on the Monitoring Team of the Distribution Sector and is responsible for monitoring projects in the MEDIA Programme's Selective Scheme, supporting the trans-national distribution, promotion, dubbing and subtitling costs and costs of digital distribution for European films.
At the time of launching the company, Christine had 18 years' commercial experience at board director level behind her. She has been involved in the cinema industry since 1999, when she was appointed Managing Director of the Pearl & Dean screen advertising business. For seven years she was CEO of SMG's Out Of Home division, with responsibility for both cinema and outdoor businesses (she was running Primesight concurrent with Pearl & Dean), and acted as Vice President of SAWA, the global trade body for cinema advertising. She is an acknowledged expert in the field of alternative content and is regularly invited to speak on the subject at cinema-related conferences around the world. She is based in London.
In The Netherlands Amstelfilm tries to combine digitization with new business models. Their newest project is called We Want Cinema (wewantcinema.com), the new online platform where you decide what is shown in the theatre.
Marieke Jonker has a Masters in Preservation and Presentation of the Moving Image, is an ex-programmer of Filmtheater De Uitkijk, and is passionate about digitization.
Amstelfilm, based in Amsterdam, is a young independent film distributor with a passion for arthouse and digital innovations. We believe the digitization of cinemas is an opportunity for the independent European cinema industry. When approached in the right way, the digital screen - combined with the possibilities for niche products in a world with social media - can fight the increasing lack of variety in the cinemas. Going to the movies is going to be a more interactive social event-based experience. We are the first Dutch distributor producing alternative content events (Cinema Events) for independent cinemas in The Netherlands.
Gofilex is an independent company founded in 1938. Traditionally working for (and with) both studios & independent distributors and cinemas & art houses for 35MM, merchandise and digital content. This means that Gofilex has both digital and physical facilities for temporary and permanent shared storage, handling, secure (inter-)national transportation and content network services. All supported with inhouse-developed multidisciplinary ICT architecture.
In 2008 Gofilex had already started to implement a nationwide terrestrial network. Via this highly secure network Gofilex operates their unique Organized Digital Delivery (Gofilex ODD). This system includes a variety of digital services (eg. versioning, conversioning, KDM and ingesting). Gofilex ODD integrates the operational logistical activities for file-based content, hard drives, 35MM and merchandise into ONE WORKFLOW. The business aim is to extend the terrestrial footprint in Europe to deliver comprehensive services.
Gofilex is continuously optimizing the integrated ONE WORKFLOW by working together with distributors and cinemas in order to shorten lead times, creating more flexibility and providing transparency in the film supply chain. Stakeholders benefit from full visibility, control & security over the content flow.
Up to 2004 Paul worked for more then 20 years for international companies in the field of Supply Chain Logistics and Change Management. Paul has a BBA degree and two masters in Logistics and Supply Chain Management. Company website www.gofilex.com
Frank de Neeve has worked in the cinema industry for nearly 20 years, mainly in technical positions. He also works as a freelance journalist for magazines like Holland Film Nieuws and Cinema Technology Magazine, and for three years he was one of the editors of the former arthouse magazine Skrien. De Neeve mainly writes about cinema technology, always aiming to make technology understandable and to focus on how it can help to improve the cinema experience.
Abram is part of EYE's management team and heads the following departments: National and International Communication, Marketing, Public & Industry Relations, and Networking.
EYE unites the Filmmuseum, Holland Film, the Filmbank, and the Nederlands Instituut voor Filmeducatie in one organization, under one name. EYE combines an extensive, world-renowned film collection with cutting-edge expertise in restoration and research, with educational programmes and international promotion. EYE promotes film culture, debate, reflection and innovation through adventurous film programming, distribution, research and experimentation.
Before he joined EYE, Ido was the director of the Binger Filmlab and CineMart Director at the International Film Festival Rotterdam. In addition, he is a member of the International Advisory Board of the CineMart and a member of the International Advisory Board of the Hong Kong Asian Film Financing Forum. Ido is a board member of ACE and a member of the European Film Academy.
In the Early 1980's Peter moved on to Sony and from mid 1985 to 1992 was responsible for all Sony's HD strategy in Europe. This was a pioneering time and laid the foundations for HD Digital Production and Digital Cinema. Peter facilitated the first HD Multi-camera Music shoot, Genesis @ Wembley in 1987 and the first uncompressed Digital Delivery to a Cinema @ IBC 1988.
In 1991 Peter moved to Snell and Wilcox where he product planned and managed more than 20 HDTV and Large Screen Display Products.
Peter currently runs his own Consultancy, High Definition and Digital Cinema Ltd, is the Director of the European Digital Cinema Forum Technical Support Group and sits on various Governmental and Professional Committees.
Peter is currently consulting on HDTV, Digital Cinema, 3D & advanced TV systems.
Peter also runs training courses on behalf of Skillset and independently. Typical topics covered are Digital Cinema Mastering, Stereoscopic 3D Live Production and HDTV.
Peters catch line is "I always work on things that haven't happened yet".
As a cultural events organiser, she has participated in the preparation, promotion and organisation of many cultural events, including the Impressionist Exhibition "From Manet to Gaugin", as well as the TRANSALPINUM exhibition at the National Museum. She has also played an important role in organising many special events for various commercial entities. Between 2001 and 2005 Anna was the producer of the Film and Art Festival "Film Summer", and has also co-operated in the production of documentary films. She gives lectures at Warsaw University on management in the culture sector.
Since 2008 she has been the head of the Department of Education and Dissemination of Film Culture at the Polish Film Institute. She supervises the implementation of educational programmes, such as the "School Filmotheque" addressing secondary schools and the Polish Film Academy addressing university students. She is responsible for the system of subsidies for film schools and other institutions conducting film education programmes. She is also responsible for projects connected with the development of cinematic activities, including the improvement of infrastructure and digitisation, and for co-operation in the implementation of the national digitisation strategy for the audiovisual archives. She manages a team dealing with the national promotion of Polish cinematography, art house cinemas and film clubs.
Jorien Scholtens has a Masters degree in film and television studies. During her study she did internships at a film production company and the Dutch Cultural Media Fund and worked as a research assistant at Utrecht University. After graduating she worked for EYE Film Institute on the digitization project Images for the Future.
Thomas is the founder of Arts Alliance, Arts Alliance Media, Love Film and the Met Film School and is both an artist and an entrepreneur.
As an artist Thomas' work spans theatre, film and music, often with a technology angle. He recently produced a film about Shakespeare and is currently making a short film about a man who falls in love with the voice of the sat nav lady.
Arts Alliance is an investment organisation that builds and supports innovative and high growth companies in Europe, typically targeting private media and entertainment companies that have a technology angle. So far they have backed 46 companies.
Arts Alliance Media (AAM) is Europe's leading provider of digital film distribution services, dedicated to building a European digital network to deliver film to cinemas. LoveFilm was incubated and spun off from AAM.
Thomas sits on the boards of City Screen; Kenshoo; the Metropolitan Film School; Kebony; and Plan UK. He is a visiting professor of Kanazawa Institute of Technology.
Thijs van Exel (1978) works with think tank Knowledgeland. He is responsible for the communication of the project Images for the Future (www.imagesforthefuture.org), and is involved in the development of several innovative concepts, such as MapIt1418, the Nationaal Archief open data app competition and Celluloid Remix 2: Found Footage.
Manice assists cinema exhibitors in converting their screens to digital: management of the tender procedure towards d-cinema integrators, choice of the financing solution. Manice does market research on the economic and technical impact of digital cinema and is also the editor of two websites providing straightforward explanations on digital cinema technology and economy: Manice.org for French cinema professionals and Manice.net (in English) for the international market.
Sébastien joined dcinex in early 2010 as Supply Chain Director. He is mainly responsible for all Logistics and Supply Chain aspects of the Deployment and Customer Support processes.
Prior to joining dcinex™, he has been working as an IT and Business consultant / Project Manager for Manufacturing and Service companies.
dcinex™, born from the rebranding of XDC, FTT and Bewegte Bilder, is a Pan-European end-to-end cinema sales and service organization.
With full geographic coverage across all European countries, dcinex™ operates under two main business lines: Exhibitor Services and Content Services.
dcinex™ Exhibitor Services provides end-to-end solutions for movies theatres, from financing and deployment to training, maintenance and support services.
dcinex™ Content Services offers a complete range of postproduction, mastering and transcoding services, as well as Pan-European physical and electronic delivery, digital rights management & alternative content.