The technology transforming the film industry A SCREEN INTERNATIONAL PUBLICATION
www.ScreenDaily.com
June 2013
cinemaximum_streertecn.pdf
C
M
Y
CM
MY
CY
CMY
K
1
5/27/13
11:00 AM
Screentech Let’s stay connected UK office MBI, 101 Finsbury Pavement, London, EC2A 1RS Tel: +44 (0) 20 3033 4267 US office Screen International, 8581 Santa Monica Blvd, #707, West Hollywood, CA 90069 E-mail: firstname.lastname@screendaily.com (unless stated) Please note our new London phone numbers Editorial Editor Wendy Mitchell +44 (0) 20 3033 2816 US editor Jeremy Kay +1 310 922 5908 Jeremykay67@gmail.com Chief critic and reviews editor Mark Adams +44 (0) 20 3033 4213 Group head of production and art Mark Mowbray +44 (0) 20 3033 4213 Group art director, MBI Peter Gingell +44 (0) 20 3033 4203 peter.gingell@mb-insight.com Senior writer and features co-ordinator Sarah Cooper +44 (0) 20 3033 4243 News editor Michael Rosser +44 (0) 20 3033 2720 Chief reporter Andreas Wiseman +44 (0) 20 3033 2848 Designer Luana Asiata Sub editor Danny Plunkett, Adam Richmond Advertising and publishing Commercial director Andrew Dixon +44 (0) 20 3033 2928 Sales manager Nadia Romdhani +44 (0) 20 3033 2775 UK, South Africa, Middle East Andrew Dixon +44 (0) 20 3033 2928 France, Spain, Portugal, Latin America, New Zealand, Singapore, Australia Nadia Romdhani +44 (0) 20 3033 2775 Germany, Scandinavia, Benelux, Eastern Europe Gunter Zerbich +44 (0) 20 3033 2930 Italy, Asia, India Ingrid Hammond +39 05 7829 8768 ingridhammond@libero.it VP business development, North America Nigel Daly +1 323 654 2301 / 213 447 5120 nigeldalymail@gmail.com Production manager David Cumming +44 (0) 20 3033 2678 Group commercial director, MBI Alison Pitchford +44 (0) 20 3033 2949 alison.pitchford@mb-insight.com Corporate subscriptions sales Subscription customer service +44 (0) 20 3033 2626 customerservicesteam@screendaily.com Festival and events manager Mai Le +44 (0) 20 3033 2950 Sales administrator Justyna Zieba +44 (0) 20 3033 2694 justyna.zieba@mb-insight.com Chief Executive, MBI Conor Dignam +44 (0) 20 3033 2717 conor.dignam@mb-insight.com
Welcome to the first issue of ScreenTech, the new publication from Screen International devoted to the technology used in today’s ever-advancing film-making industry. There may still be one or two ‘storyteller’ types out there who don’t worry too much about the technology of film-making. But without technical prowess, even the best story won’t be worth watching. Think about the jarring experience when you see a film that has sound even a nanosecond off sync — it’s impossible to watch. And likewise a bad 2D to 3D conversion — it’s a huge barrier to enjoying a film. One thing that’s clear is startling visual effects, advances in post-production or even 3D are no longer just for studio blockbusters. The savviest film-makers in all genres and at all budget levels are using technological innovations as new tools in their storytelling.
2 a clearer picture Each advance in exhibition demands investment and exhibitors need to be selective
4 Turbo charged DreamWorks Animation’s Phil McNally reveals the approaches to 3D used for Turbo
6 sound of the future
12
With new formats joining the market, ScreenTech looks at the future of immersive audio
8 SPECIAL DELIVERY Digitisation of cinemas means faster, cheaper delivery of films. ScreenTech asks where the industry is headed
12 stereo dynamics The 3D post-production sector continues to innovate
14
14 alternative energy ScreenTech looks at recent innovations in alternative content and the lucrative future ahead
16 wired up
Screen International is part of Media Business Insight Ltd (MBI), also publisher of Broadcast and shots
2
www.screendaily.com
Look at Ang Lee with Life Of Pi or Baz Luhrmann with The Great Gatsby — these are dramatic stories made even more compelling thanks to the immersive nature of 3D. Technology has come a long way from things just jumping off the screen towards your head. We explore a wealth of technology in this issue, such as immersive sound technologies including Dolby’s Atmos and Barco’s Auro (p6) and how post-production experts are dealing with 3D footage in new ways (p12). Plus, there are the creative opportunities of the digital age, such as the boom in alternative content (p14) and animation advances at DreamWorks Animation (p4). We hope you enjoy our first ScreenTech and our continuing coverage of the crafts side of the business. I’d love to hear your feedback, and suggestions for future coverage, at wendy.mitchell@screendaily.com. Wendy Mitchell, editor
4
Deluxe Digital is thinking differently about distribution and is pushing the boundaries of its network
June 2013 Screen International 1 n
a clearer picture Digital has expanded the range of film formats for theatres, but each new advance demands investment and exhibitors need to be selective. By John Hazelton
T
he global exhibition industry’s digital conversion may be substantially over — insiders estimate 75%-80% of the world’s cinema screens have now gone digital, with penetration at 85% in the US and 100% in parts of Asia and Europe. But that does not necessarily mean the industry is about to take a technology timeout. In fact, the transition might eventually look like a precursor to a series of other smaller, but still significant, technological advances. “The capabilities of digital are still expanding,” says Damian Wardle, vicepresident of worldwide theatres technology and presentation at US and Latin American circuit Cinemark Theatres. The digital transition was expensive for exhibitors, with conversion costs of $70,000-$80,000 per screen being only partially offset by the virtual print fees the studios agreed to pay to theatre circuits. And it did not produce any direct financial benefits for exhibitors, other than increasing their options for offering alternative content such as concerts. It did, however, lead to the 3D boom and the extra income exhibitors were able to earn by increasing the regular ticket price for 3D screenings. In the US at least, that income has declined over the past 18 months as movie-goers have become more selective about 3D films. But in emerging international markets such as Russia and China, “3D is still huge,” says Chris McGurk, chairman and CEO of Cinedigm. “The pricing is still up where everybody wishes it was in the US. It’s still a big upside for the film business.” In the US, meanwhile, exhibitors are hopeful that studios have now learned to be more judicious with the format. The success of an adult-oriented 3D film such as Life Of Pi “shows that the use of
n 2 Screen International June 2013
the genre has really broadened”, argues Neil Katcher, senior vice-president of facilities, sight and sound at major US circuit AMC Theatres. “That bodes well for the future.” Given the cost of the digital switch, exhibitors may themselves be selective about some of the emerging technologies that digital has made possible and that are now being touted by entertainment technology suppliers.
Time of transition John Fithian, president of the US National Association of Theatre Owners (NATO), says exhibitors “are not looking to spend a whole lot more money on new technologies immediately because we’re still going through this transition”. Still, vendors suggest that cinema owners will buy into the new developments to better compete with the convenience of home entertainment. Brian
Peter Jackson’s The Hobbit: An Unexpected Journey was exhibited in 2D, 3D, standard frame rate and high frame rate formats
Claypool, senior director of strategic business development at European visualisation products company Barco, notes that exhibitors “are thirsty for ways to keep people coming into cinemas and not staying at home watching their iPads”.
Selected cinema technologies High frame rate (HFR) Proponents suggest that films shot and projected at 48 or more frames per second — compared to the usual 24 — give audiences a more realistic visual experience and eliminate the eye and headache problems that some viewers have with conventional digital 3D. Most current digital projectors can be made HFR-ready — through a software upgrade or hardware addition — for less than $10,000. Immersive audio Immersive or 3D audio platforms use additional speakers and software to create sound effects around and above an audience.
The Dolby Atmos system, currently used in 130 screens around the world, costs about $70,000 to install in a large auditorium. The Barco Auro 11.1 system, based on existing 5.1 surround sound and currently employed in 63 screens worldwide, costs $40,000-$90,000 for a big screen. Laser projectors Set to appear in some bigger cinemas towards the end of this year, laser cinema projectors will create much brighter images than xenon lamp-based digital projectors, making 3D movies look as bright as current 2D offerings and allowing exhibitors to employ
bigger screens. However the first laser projectors are expected to cost as much as $500,000 each, 10 times as much as xenon projectors. Motion effects Technologies such as 4DX and D-Box employ electronically controlled cinema seats that move in sync with a film’s onscreen action as well as, in the case of 4DX, auditorium effects such as wind, fog, lightning and scents. A 200-seat auditorium can be equipped with 4DX for $2m or less, with technology creator CJ 4DPlex (part of South Korean film group CJ Entertainment) covering half that cost.
www.screendaily.com
EXHIBITION SCREENTECH
‘3D is still a big upside for the film business’ chris mcgurk, cinedigm
Late last year, cinema operators and audiences had their first taste of one new technology, high frame rate (HFR) digital projection, with the release of the 48 frames per second 3D version of The Hobbit: An Unexpected Journey. Experts suggest HFR could significantly improve the digital cinema experience at relatively small cost to exhibitors. Many cinemas using Series 2 digital projectors — almost 60,000 of which are thought to be installed worldwide — are already capable of showing HFR films, and the rest could be made ready for less than $10,000 each. The concern for exhibitors is that the supply of HFR films will be too small to justify even that fairly modest expense. As yet, the only confirmed HFR projects in Hollywood’s pipeline are two more Hobbit films and the sequels to Avatar. Motion-effect systems — which add moving seats and other live effects — carry a much higher price tag but could, claim their backers, pay off more directly for exhibitors. The 4DX system, currently installed in 17 Korean locations, 13 in Mexico and 19 elsewhere, allows exhibitors to increase prices by as much as $6-$8 a ticket, according
www.screendaily.com
to 4DX Americas head of operations Theodore Kim, and can substantially boost cinema attendance and occupancy rates. “We have proved that it works in Asia and South America, and in growing markets like Russia,” says Kim. “Now we are slowly trying to penetrate Europe and the US.” Laser projection has been demonstrated at several recent industry events, showing exhibitors “how truly spectacular a 3D experience can be when it’s shown at the proper light levels”, says Don Shaw, senior director of product management at projector company Christie Entertainment Solutions. While laser projectors will initially be too expensive for use in anything but Imax and other big-screen cinemas, these might eventually serve to reignite enthusiasm for the 3D format. “Laser could help the entire industry by making for
Man Of Steel (below) was produced and exhibited with the Dolby Atmos system (above)
brighter 3D experiences,” says David Keighley, Imax’s chief quality officer. Also addressing concerns of 3D brightness, RealD has introduced Precision White Screen technology that offers edges of screens that are four to five times brighter than a standard silver screen. The technology, launched with Ballantyne Strong, can be used to enhance both 2D and 3D projection. It will be demoed at CineEurope. Perhaps the most widely employed — and potentially controversial — of the new exhibition technologies will be immersive audio. Of the two leading immersive systems, Dolby Atmos has so far been used on the production and exhibition of more than 30 films, including Taken 2, The Hobbit: An Unexpected Journey, Iron Man 3 and Man Of Steel. Upcoming releases in the format include Pacific Rim and Gravity. Barco’s Auro 11.1, meanwhile, has been used on projects including Red Tails, Indian thriller Vishwaroopam and Dutch historical drama The Blitz (Het Bombardement). Recent and forthcoming films released in both formats include Rise Of The Guardians, Oz: The Great And Powerful, The Croods, Turbo and Elysium. Recently, however, NATO and the Union Internationale des Cinémas jointly released a set of “exhibitor requirements for immersive sound technologies” designed to avoid a repeat of the incompatibility problems encountered in the 1990s with three competing digital sound formats (Dolby, DTS and Sony). Technology vendors have responded cautiously to the call for open standards in immersive audio. “We certainly agree that exhibition should not have to make an investment in a technology that would potentially disappear,” says Stuart Bowling, senior worldwide technical marketing manager at Dolby Laboratories. But, he adds: “Having an open standard to a degree can stifle innovation.” Exhibitors, not surprisingly, have a slightly different view. Dan Huerta, vicepresident of sight and sound at AMC — which is currently testing both immersive systems — says: “As a company and as an industry, we don’t want to go through what we did with the film-based digitalaudio scenario, where you had three very different competing technologies. We just don’t want s to go through that pain again.” ■
June 2013 Screen International 3 n
Screentech Phil McNally The 3D work on Turbo was fine tuned using the McNally Autostereoscopic Calculator
Turbo charged DreamWorks Animation’s Phil McNally tells John Hazelton about the new approaches to 3D used for Turbo, including the creation of bespoke software
I
n Turbo, the DreamWorks Animation comedy set for North American release through 20th Century Fox on July 17, a plucky little snail (voiced by Ryan Reynolds) miraculously attains the power of super speed and pursues his dream of taking part in famous stock-car race the Indy 500. The artists who brought the story to life did not face quite as daunting a challenge as the title character but they did negotiate some tricky turns, especially in using 3D to enhance the story’s impact. “Scale is always a challenge in stereo,” explains Phil McNally, stereoscopic supervisor at DreamWorks Animation and self-styled ‘Captain 3D’. “We wanted the fast-paced sequences on the racetrack to be the big dramatic depth sequences of the movie, with the cars looking like giant mountains racing along behind Turbo and with our [human] driver Guy looking down at tiny Turbo on the track.” “There were three stages,” McNally continues. “Up in the racetrack’s TV booth we made the 3D very passive and neutral. In the pit lane it came up to normal levels and then on the track the 3D was really pushed hard. We didn’t mind it being a little uncomfortable because it
n 4 Screen International June 2013
‘We are trying to expand what we do with 3D and how it relates to the story’ Phil McNally, DreamWorks Animation
was in short bursts that created great contrast.” The fine tuning of the 3D settings was aided by the McNally Autostereoscopic Calculator, a new piece of software created by McNally and colleague Matthew Low that was run inside the widely used Maya 3D computer graphics program. McNally began working on the idea nearly three years ago, as a response to his frustration at having to give animators the same notes on stereo depth settings over and over again. Realising that similar scenes in DreamWorks features tended to use similar stereo settings, he created a database of values for a range of shot types and lens sizes. He ended up with around 1.5 million values representing the DreamWorks norm for any particular shot. McNally and Low tested the software by running 65 shots from an earlier DreamWorks project through a computer. “We looked at the results the next day,” McNally recalls, “and if it had been an artist’s dailies I would have approved 62 out of the 65 shots.” The software, McNally admits, does not work quite as well on sequences that have a lot of action. But in its first feature outing on Turbo, it still managed to produce stereo settings that met McNal-
ly’s approval on an estimated 60% of the shots, with the remainder being adjusted manually. And that, says McNally, probably saved one or even two years of valuable artist man-hours. The Calculator will now be used on all DreamWorks Animation 3D features, beginning with spring 2014 release Mr Peabody & Sherman. McNally predicts it should also be useful in games involving 3D action “because games have to try and make these decisions on the fly”. The benefits of using the software could go beyond cost-cutting. On Turbo, for example, the Calculator led to shots being judged on purely creative grounds rather than in terms of how much work had been involved. “Because the computer’s doing the work on this first pass, when we see the result we don’t have any emotional connection,” McNally says. “You can see it as an audience member, even though it’s your own work.” What’s more, says the DreamWorks 3D wiz, automating the stereo setting of some scenes will give artists more time to experiment on other parts of the film and more insight into how 3D can help tell a story. “We are trying to expand what we do with 3D and how it relates to the story,” McNally asserts. “Because we could iterate more [on Turbo], we became more knowledgeable and were able to experiment with more ideas. “By the time the audience gets to see it we just want them to feel excited or sad or detached or involved, as the story dictates. We like to think that had the stereo been a bit more the same from one sequence to the next, they might not s have felt that.” n
www.screendaily.com
Dedicated to Digital Cinema
Meet our team at Booth # 129 CineEurope
C O N T R I B U T I O N
Serving more than 2,500 screens across 8 countries
EXHibitiOn I N S T A L L A T I O N
More than a 100 operational cinema booths
A stock of more than 20,000 active glasses
distributiOn L A B O R A T O R Y
More than 25,000 feature DCPs delivered annually
P O S T P R O D U C T I O N
PrOduCtiOn
Facilities in Paris, Barcelona and Berlin with the latest technology
www.ymagis.com ScreenIntr13English.indd 2
paris
berlin
barcelona
106 rue la boÍtie 75008 Paris – France tel: +33 175 448 888 contact@ymagis.com
reuchlinstr. 10-11 10553 berlin, deutschland tel. +49 30 21018431 germany@ymagis.com
Pallars, 99 08018 barcelona tel. +34 931 845 060 spain@ymagis.com
13/06/13 18:18
Barco’s Auro is an open-source platform
The sound of the future With new formats such as Dolby Atmos and Barco Auro joining the market, Neal Romanek looks at the future of immersive audio
C
inema audiences have traditionally been slow to adapt to changes in the film image. Colour film did not become the universally recognised standard for exhibition until the late 1960s and the debate about whether stereoscopic 3D will remain with us is far from over. But since 1927’s The Jazz Singer and its groundbreaking synchronised dialogue, audiences always seem willing to accept advances in sound technology. It is a quirk of human perceptions that audiences have been willing to put up with occasionally inferior image quality but problems with sound are met with complete intolerance. The watchword for cinema in the 21st century has been ‘immersive’, with filmmakers and exhibitors seeking to provide the audience with an enveloping experience they will not have in a home theatre. Stereoscopic 3D imagery has been the main vehicle for this immersive experience, but close on its heels has come immersive audio — ‘3D sound’.
n 6 Screen International June 2013
There are several competing immersive audio technologies but the goal behind them all is to place the audience more completely inside the soundscape of a film, adding tracks with height information as well as the left and right, front and back of a traditional 5.1 mix.
Creating an atmosphere Dolby, often leading the charge in sound evolution, has created Dolby Atmos, which premiered last year in Pixar’s Brave. Atmos is a proprietary system, which employs an object-based approach to sound rather than the traditional channel-based workflow. Sounds in an object-based mix are assigned metadata giving them location and loudness information, allowing them to be placed anywhere in the room. Rather than traditional dialogue, effects and music mixdowns, object-based systems such as Atmos can keep elements of the soundtrack discreet even at the playback stage, with the attached metadata
‘When you bring out any new sound format, you have to build from zero’ Guy Hawley, Dolby
describing behaviour that, in a channelbased system, would have been locked in at the dubbing stage. “When you bring out any new sound format, you obviously have to build from zero,” says Guy Hawley, Dolby’s senior director of cinema sales. “You need to have a number of screens in place and a number of films in place,” he adds. “If you don’t have the screens, you’ve got nowhere to show the films. But if you’ve got no films, no-one’s going to spend the money equipping the screens in the first place. So it’s a bit of a chicken and the egg situation, and one we’ve dealt with a number of times over the years.” Dolby worked to sell the concept of Atmos technology to the studios, distributors and content creators with a plan that by the time Atmos was officially launched, in April of this year, there would be somewhere between five and eight Atmos movies available. The real numbers have exceeded expectations. There have already been 40 Atmos films. “It underlines that the content creation community is ready for something new,” says Hawley. “We have had immensely positive feedback from all quarters. People get the concept quickly.” Atmos requires no new production recording technology. Tracks recorded
www.screendaily.com
Immersive sound Screentech
with a soundfield microphone might be used to enhance the 3D ambience of a soundtrack, but with most of a film’s soundtrack created in post, production sound remains essentially untouched by the Atmos workflow. Dolby is now concentrating on building a screen base and trying to get exhibitors to increase the number of Atmos-enabled screens, aiming to have around 200 Atmos screens worldwide by the end of June.
Dolby Atmos premiered in Pixar’s Brave
Battle of the formats Adapting to new workflows seems to be an omnipresent challenge as new technology comes and goes. Sound designers have responded enthusiastically on the future of immersive audio. Baftawinning sound designer Kate Hopkins of post-production company Wounded Buffalo, who will be mixing Walking With Dinosaurs The 3D Movie in Atmos, says of the new immersive formats: “They’re kind of what everyone wanted 5.1 or 7.1 to be, but it never quite was. The whole idea of surround really is finally working. It does what you want it to do. “When you were trying to move sound around in 5.1, there tended to be a little jump between speakers. It wasn’t as accurate. And it wasn’t quite as immersive as everyone wanted it to be.” Atmos is not the only player in the field of immersive sound. Auro 11.1 is a 3D audio system by Barco. Acquired by Barco from Belgian technology company Galaxy Studios, Auro employs the familiar channel-based system, but ups the number of cinema speakers to 11.1. Auro does not yet have the number of films in theatres that Atmos has, but DreamWorks Animation has agreed to mix all its animated features in Auro. Brian Claypool, Barco’s senior director of strategic business development, believes one of the advantages Auro has over Atmos is that it relies on the familiar channel-based approach. “Auro works within the existing workflow. We didn’t want to rebuild the entire ecosystem.” The battle between Barco’s channelbased sound and an object-based approach mimics the tension between native stereoscopic photography and 3D conversion. Auro captures the immersive experience from the moment of recording, with soundfield microphones capturing varieties of reflections and tones in an environment that might be time consuming to reproduce digitally.
www.screendaily.com
Claypool recalls the early Auro testing conducted by Richard King, sound supervisor on DreamWorks Animation’s Rise Of The Guardians: “Richard King did some amazing recording of jets at LAX [airport]. There were so many things that came out of that live multichannel recording that you can’t get in an object-oriented mix. There are reflections off the ground and trees dampening the sound in certain ways. There’s all kinds of sound information there that can be captured that add to the effect.” Unlike Dolby Atmos’s closed system, Auro is an open-source platform, allowing theatres to port it into whatever sound system they have. Barco’s aim is to allow the industry to work toward establishing a coherent approach for how immersive film sound is recorded, mixed and reproduced. Claypool adds: “It may take pressure from exhibitors to get all parties to come to the table to develop an industry standard.” John Kellogg, senior developer at audio company DTS, has been vocal about the dangers of the industry exhibiting films in a tangle of competing audio formats. DTS has developed a new sound format called MDA (multi-dimensional audio). MDA is an object-based system and is also platform agnostic. Kellogg points out that immersive 3D effects are only one aspect of object-
‘It may take pressure from exhibitors to get all parties to come to the table to develop an industry standard’ Brian Claypool, Barco
based audio. “The benefit of objectbased audio is the idea that you can do a single deliverable that can play anywhere. You could mix a track on any number of speakers but that would play on anything from 70 speakers to 14 speakers to traditional 7.1, 5.1 or even stereo. And I think that is where the industry is now headed,” he says. “Nobody wants a format war. Exhibitors and studios have been through that,” adds Kellogg. He believes the industry is headed toward creating an interoperable standard, which is objectbased and will support any type of sound recording, mixing and rendering system. With increasingly tight budgets and schedules, a tug of war between audio formats cannot go on for any length of time. Kellogg believes that pressure from studios and exhibitors will force a resolution to the issue on a timescale of months, not years. “Studios would like to reduce the number of deliverables and mixes, and save money, and exhibitors would like to be able to offer their customers an immersive audio experience in any configuration and not be necessarily locked into one proprietary format,” he says. “There is a lot of work going on right now with a large number of companies sitting down and saying, ‘We really need an interoperable format. Let’s figure this s out and create one.’” n
June 2013 Screen International 7 n
SCREENTECH DIGITAL DELIVERY
Special delivery The digitisation of cinemas means the potential for faster, cheaper delivery of films. Neal Romanek looks at the current standards of delivery and where the industry is headed
S
tudios, distributors and exhibitors have supported the transition from film to digital for a variety of reasons. Some have been creative, but most have been economic. The film industry has more competition than ever from other visual media, from game consoles and immersive home-theatre systems, to the vast library of VoD content available on the internet. The digitisation of the cinema experience has been essential to adopting new technologies designed to enhance the movie-going experience and grow cinema audiences. Stereoscopic 3D, variable frame rates and immersive audio are only the beginning of the enhancements digital cinema has to offer. A driving factor in the move to digital cinema has been the promise of easy, cheap distribution. In a digital environment, limitless copies of a film can be generated at low cost, in contrast to the comparatively expensive and time-consuming duplicating of film prints at a lab.
Digital love Until recently, the principle means of delivering a digital cinema package (DCP) to cinemas has been via hard drive, a method that still preserves the film supply chain with hard drives being physically shipped to cinemas rather than film cans. In a digital age, harddrive delivery of content might seem absurd — the film world equivalent of having your iTunes purchase mailed to your house on a CD — but it has proved to be an effective and robust system. Electronic delivery, via satellite or terrestrial networks, is becoming more commonplace as network speeds increase and connectivity becomes ubiquitous. Satellite delivery has worked well for delivering the same content to many locations at once and has been the leading electronic alternative to harddrive delivery. Terrestrial networks are gaining ground, however. Deluxe Digital has partnered with Hewlett-Packard to introduce a terres-
■ 8 Screen International June 2013
‘We found a terrestrial network to be a lot more flexible and future-proof than a lot of other technologies out there’ Jonathan Gardner, Deluxe Digital
trial distribution network of its own for the region of Europe, Middle East and Africa (EMEA). “Hard-drive delivery has been the mainstay of cinema delivery for some time,” says Jonathan Gardner, director of digital cinema at Deluxe. “Over the past three or four years, you’ve seen electronic delivery via satellite vendors. In some territories that works really well because you can hit a lot of sites — like in America, where you can hit up to 6,000 sites in one broadcast. But when you get to EMEA, the market’s a lot more fragmented.” With a multi-language, multi-market region like Europe, Deluxe decided to try a terrestrial network. Taking advantage of increasing fibre connectivity, a terrestrial network can offer a lot more point-to-point flexibility than a satellite’s one-to-many approach. Gardner says: “A cinema will be able to order the particular version of a film that it requires. If there is a cinema in London that has 5.1 capacity and 7.1 capacity, but no 3D, then we just send
(Above) Film delivery options for cinemas include satellite, hard drive or fibre-based terrestrial networks
them the 2D versions in 5.1 and 7.1. If a cinema down the road has 3D and 5.1 but no 7.1, we send the versions appropriate for them. We found a terrestrial network to be a lot more flexible and future-proof than a lot of other technologies out there.” Deluxe believes that distribution on a terrestrial network will also allow for a greater variety of ancillary services. Second screen options, advertising and marketing, and special events can be better targeted. Additionally, Deluxe’s terrestrial network will provide more granular data and reporting on distribution patterns and what content is playing in which cinema and when. Digital cinema also allows screening a variety of alternative content in cinemas, including live events ranging from opera and concerts to sports. Satellite delivery has been well-suited to this kind of live streaming, although with »
www.screendaily.com
Cinegi, the fully digital film distribution platform for public exhibition, launches later this year in the UK. Cinegi builds rightsholders’ revenues by extending their reach through cinemas and other venues from from village halls to pubs, from arts centres to sports centres, screening to audiences who would normally never see their content and extending its life beyond its first release.
The Cinegi Catalogue will include mainstream, independent, arthouse, foreign language and documentary features, made for TV and alternative content. Venues don’t need to acquire any proprietary technology or kit. The platform only requires a normal computer, download is over standard broadband and playout is in full HD from the simple-to-use Cinegi Player desktop app.
Cinegi will be one of the first Application Service Providers for the Cinema Arts Network – using CAN’s network to provide local content hosting and high-speed video content delivery to make Cinegi available to its members. The secure video and key delivery services within Cinegi are provided by technology partners, Vualto, with their experience of delivering premium VoD services for European broadcasters using
Adobe Access Digital Rights Management (DRM). Ahead of their launch, Cinegi is actively encouraging rightsholders with UK theatrical or nontheatrical public rights to express their interest and to discuss potential distribution partnerships. For more information visit cinegi.com/register-contentowners e: content@cinegi.com t: +44 (0) 844 884 9230
Enter ENTRY DEADLINE
26 JULY
Back for the fourth year, the Screen Marketing & Distribution Awards are now open for entries www.screenawards.co.uk
@ScreenAwards
Screen Awards 2013
30 October 2013 l Park Plaza Riverbank, London Category sponsors
Supporter
screentech digital delivery
broadband speeds getting faster, streaming via terrestrial networks is becoming more viable. Gardner says: “We have seen network speeds improve year on year. Going forward, our opinion is that it will all be terrestrial.”
A secure line Fear of piracy runs deep in the industry and any new digital distribution channels must keep its content secure. Gardner underlines that the Digital Cinema Initiatives specification established by the studios was very robust around security and encryption. “If you’re sending something out in a hard drive, it sits in the back of a van, and anyone can have access to that. In the way something is sent via a satellite or network, there is inherent security. But realistically, the content in a DCP is so heavily encrypted that if someone did get their hands on it, it would take them forever to override that encryption,” says Gardner. Though digital distribution has
n 10 Screen International June 2013
promised cost savings to studios and distributors, Technicolor head of digital cinema Greg Mandel believes that digital distribution is far from being the generator of an economic miracle. He says: “It is true there is about 75% worldwide conversion to digital cinema. But while it’s safe to say digital cinema is maturing, I would be reluctant to call it mature yet. “We are in a state of seeing one or two new technological introductions each year. That’s certainly a benefit of digital cinema. But it’s too early to determine finally what the cost savings are going to be. The studios continue to pay virtual print fees, subsidising the deployment of digital cinema infrastructure out in the field. So as long as those digital print fees exist, the total cost of supplying digital cinema to the field will continue to mirror 35mm distribution.” The studio deals for paying virtual print fees are typically 10 years long. The first wave of those contracts were
For the most part films are still delivered to cinemas via hard drive
www.screendaily.com
signed in 2005, which means the industry is two years away from their expiration. “In 2015, when the studios are no longer required to pay digital print fees to those early adopters, that’s when they’ll start to realise cost savings and there’ll be a clearer view of what’s going on,” Mandel notes. “The question then comes up about how long the new equipment will exist and how often exhibitors will need to upgrade and how they will pay for that. The studios certainly don’t have it in their plans to subsidise another wave.” Mandel also notes it is not always clear-cut where cost savings fall. The main beneficiary of electronic distribution has been the exhibitor, which ultimately could force the exhibitors to absorb more costs. “With electronic distribution, exhibitors don’t have to deal with loading drives or deal with staffing to physically handle content. They can focus on selling the concessions and other activities that drive revenue. “Historically the exhibitor has always paid a portion of the cost of delivery. The big issue with the electronic model — when you look at the cost of the equipment and the investment up front to put that equipment
www.screendaily.com
into a theatre — is whether the exhibitor is going to have to pay their fair share of that cost. Or more, given they’re the primary beneficiary. “We at Technicolor are absolutely supporters of electronic distribution, but ultimately we believe in a hybrid model. From our perspective, we want to get the content to the theatre in the most efficient manner possible and the best cost.” One studio executive says the studios, predictably, will adopt the distribution model that is the most cost efficient. “I suspect that new electronic distribution models won’t impact the studios much directly. Deluxe or Technicolor are required to get the film there by hook or by crook. If they can find a cheaper way of doing it that improves their margin, great. But strategically, for us there’s no real difference as long as the service is there.” The executive approaches the transition to fully electronic distribution cautiously. “For the next few years, hard drives will still be the primary way of getting material to cinemas. I’d love for someone to find an even cheaper solution, but I think, for the moment, the economics and the infrastructure aren’t s quite there yet.” ■
June 2013 Screen International 11 n
Prime Focus split its VFX work on World War Z between the UK and India
Stereo dynamics Faced with ongoing challenges, the 3D post-production sector continues to innovate. George Bevir reports
O
ver the past few years, camera equipment has become more attuned to the needs of 3D crews, with smaller and lighter cameras such as Arri’s modular Alexa M helping to reduce the size and weight of twocamera rigs. The rigs have also become more innovative, with manufacturers promising manual, partially automated or fully robotic stereoscopic systems that can align two cameras to a subpixel level of accuracy. But in spite of these advances in technology and a growing band of increasingly experienced stereoscopic operators, it is inevitable that mistakes will happen. “As with 2D cinematographers, stereographers know what they’re doing, but if something drops out of alignment and goes unnoticed on set, some shots will need fixing in post,” says Quantel product manager Damon Hawkins. The shift to higher resolution formats and a growing interest in shooting at high frame rates (HFR) suggests the pressure placed on post facilities is only likely to increase. Post-production on
n 12 Screen International June 2013
Peter Jackson’s The Hobbit: An Unexpected Journey, which was shot at 48 frames per second, was handled by Jackson-backed New Zealand facility Park Road. A 3D shoot with twice the usual number of frames meant four times the amount of storage compared to a 2D, 24 frames per second production, prompting Park Road’s head of picture and the supervising digital colourist for The Hobbit, Dave Hollingsworth, to describe the film as “potentially the most complex post ever carried out on a feature film”. Park Road opted for a Mistika system from SGO as its main platform for dailies, online edit, stereo work and colour grading. “There are many challenges [shooting at a higher frame rate] but outright performance and storage are obvious issues that will arise,” says SGO director of global sales and operations Geoff Mills. But for the most part, HFR solves problems rather than causing them, Mills says. “Motion artifacts such as strobing, or stereo 3D issues such as
‘If something drops out of alignment and goes unnoticed on set, some shots will need fixing in post’ Damon Hawkins, Quantel
half-frame mismatches, are either reduced or removed entirely due to the extra information that HFR provides.” Park Road head of technology Phil Oatley says the biggest difference between a traditional 2D post production workflow and Park Road’s pipeline for its 3D projects occurs during the preparatory stage. That is when the post firm carries out the technical stereoscopy, balancing the left and right eyes so that there is no colour or geometric misalignment. “For those projects where we have provided stereo rushes and dailies we’re actually a step ahead of the traditional online, because we have already completed a very usable stereo colour balance and geometric alignment, and this is carried as metadata directly into the online,” says Oatley. During the final creative convergence pass, Park Road adjusts the depth placement during and between shots at the same time as the decisions about the grade. “Colour timing and stereoscopy need to work hand-in-hand,” adds Oatley. Park Road’s decision to opt for the Mistika system was a good choice, according to Vision3 partner and stereo supervisor Chris Parks, who says the post system, “has a toolset and a maturity of operation that makes it invaluable on most productions”. But it is not only Mistika that offers
www.screendaily.com
3d Post-production screentech
stereo tools for post operators. The likes of Avid, Adobe, Assimilate and Filmlight have all improved the stereo feature sets in their software packages. “The most sophisticated of these tools allow for semi-automated adjustment of natively shot 3D, with specific tools for correction of geometry, colour and exposure differences and polarising artifacts,” says the London-based Parks. “There are even tools available now that will change the effective IA [interaxial] of native shots or will match focus when there are focus mismatches. Techniques such as these are still very difficult to achieve effectively and reliably across all types of image, but when they work they can really get you out of a hole.”
Quantel’s new stereo 3D manipulation tools can be used with its grading system Pablo
Depth perception In April, Quantel moved to up its stereo credentials with the launch of SynthIA, a range of stereo 3D manipulation tools that have been in development for the past year and tested by 3D specialists Cameron Pace, Deluxe subsidiary StereoD and Brussels-based post house Ace. The software, which can be used on its own or alongside Quantel’s grading system Pablo, allows post teams to alter the interaxial separation (the distance between the two camera positions) and adjust disparity at different depths in a scene. Hawkins says it can “make the unwatchable, watchable”. “That doesn’t mean making bad shots perfect,” he says. “But in terms of avoiding reshoots it’s a viable, quick and costeffective option.” The ability to ‘fix it in post’ can help to cut down the amount of time spent on set, but an over reliance might simply mean more time spent in an edit suite. If
‘Neither is better. Stereoscopic is an illusion, and natively shot 3D isn’t any more real’ Richard Baker, Prime Focus World
go native or be A convert? The founder of California-based Legend 3D, which counts The Amazing Spider-Man, Hugo and Pirates Of The Caribbean: On Stranger Tides among its credits, does not agree with use of the term ‘native’ to describe a two-camera set-up. Barry Sandrew argues that using two cameras and shooting through a polarised mirror is “not the way we see things”. He says: “The mirror is not
www.screendaily.com
the same quality as the lenses and it’s a dust magnet. When you shoot with a rig each eye has different problems and they are not the same.” In contrast, making two eyes from one frame results in pixel-perfect accuracy, he says. “And if we have clean plates we have more information than you would if you were shooting ‘native’, so in many respects conversion can be superior to shooting with a rig.”
the problem is more severe than something like an alignment issue, it can be quicker to convert 2D footage to 3D rather than fix natively shot 3D, says Prime Focus World View-D creative director Richard Baker. “It is possible to take one eye of the 3D rig and convert, which can fix rolling shutter or sync and alignment issues,” he says. While live-action drama sequences can be cheaper to shoot natively, the size of a mirror rig can make it tricky to acquire some shots (see box, below) and CG-heavy films will undoubtedly need the services of a conversion facility. A mixed approach of shooting some scenes natively and converting others can be the answer to many of the questions posed by a 3D production. “Neither is better,” says Baker. “Stereoscopic is an illusion, and natively shot 3D isn’t any more real — you are still creating two eyes for that stereo illusion.” Since Prime Focus launched its proprietary 2D to 3D conversion service View-D in 2009, the company has worked on a raft of blockbusters including Green Lantern and Men In Black 3. It has also converted 20 minutes for Alfonso Cuaron’s forthcoming Gravity and completed around 100 shots for Baz Luhrmann’s The Great Gatsby. One of Prime Focus’s earliest projects was Clash Of The Titans, which was converted in its entirety using View-D. It was a tight turnaround; Warner Bros gave Prime Focus just eight weeks to complete the project. It resulted in some unfavourable reviews. Clash Of The Titans director Louis Leterrier recently described the 3D as “famously horrible”. At the UK’s recent 3D Creative Summit, Prime Focus World View-D UK
joint managing director Matt Bristowe raised the spectre of Clash Of The Titans early on in his talk. “That was day one, and the conversion process has evolved so much in three years,” he said. Parks agrees the technical ability of post conversion houses has increased “dramatically” in the last few years. “The problem is that all that improvement can be wiped out by reduced budgets and shorter schedules,” he says. One of Prime Focus’s most recent projects was World War Z. It was supervised by the group’s London office, where Baker and 80 staff are based. Prime Focus completed 2,200 shots for the film, with about 1,800 completed by the company’s India base, which employs some 1,000 artists. One of the factors when deciding which shots stay in the UK and which are pushed out to India is the level of supervision a shot requires. “If it’s a complicated VFX shot, it makes sense to keep it local, where some of the VFX houses are based,” says Baker. With the content ingested in London, the artists begin the process of rotoscoping. After the first assembly, when everything is placed roughly in-depth, the shot is presented to Baker. If it is good enough, it will have to pass two more stages of finessing before it is signed off. “I will see each shot around 10-15 times,” Baker says. Over the past 18 months, Baker says, the trend has been for a more pronounced effect with a shift away from shallow 3D. “With films like World War Z we are seeing more depth; viewers are getting used to it, and when they have to pay more to watch a film in 3D, they s want to see more 3D.” n
June 2013 Screen International 13 n
The British Museum filmed Pompeii Live for cinemas
Alternative energy From opera and ballet to concerts and sports, alternative content is big business in cinema’s digital age. Melanie Goodfellow reports
T
he British Museum in London made history in June when it streamed its exhibition, Life And Death In Pompeii And Herculaneum, into more than 260 cinemas across the UK. “Art galleries have experimented with cinema releases but we’re the first museum in the world to do something like this,” says Tim Plyming, head of digital media at the British Museum. “A museum is essentially the objects and the stories behind them. The challenge is bringing these inanimate objects to life on the big screen,” he adds, talking just prior to the launch of Pompeii Live on June 18. A recorded version, being sold internationally by alternative content specialist More2Screen, is due to hit another 1,000 screens worldwide over the coming months. The British Museum’s foray into the alternative content scene is just one example of the rapid development taking place in the sector, both in the breadth of productions on offer as well as the number of cinemas that are programming non-film, niche fare on their screens.
n 14 Screen International June 2013
‘Today we’re hitting 1,300 theatres worldwide and we don’t expect it to stop there’ Mark Rupp, SpectiCast
Other groundbreaking alternativecontent events hitting screens this summer include a live 3D broadcast of a Swan Lake performance by the renowned Mariinsky Theatre ballet company in St Petersburg — produced by the UK’s Glass Slipper Live Events with technical support from Cameron Pace Group — and the Ridley Scott Associates-produced fan documentary Springsteen & I. “We are seeing a progression towards more and more sophisticated content… we’re trying to push the boundaries of live 3D events performances,” says Ann McGuire of Glass Slipper. “The array of live opera and ballet now available is impressive,” concurs Elisha Karmitz, director of multimedia at French exhibitor MK2. “It works extremely well. We adapt our programming to fit our cinemas and our target spectator and we’ve developed a loyal audience for these events.” Something like Pompeii Live could inspire similar efforts. “The scene has changed so much in the five years we’ve been involved. I think the British Museum event will prove hugely suc-
cessful and will encourage other museums to experiment,” adds Mark Rupp, founding president of US digital distributor SpectiCast, who is also bullish on comedy, children’s and film festival content. SpectiCast started out in the sector broadcasting concerts by the Philadelphia Philharmonic Orchestra into retirement facilities in the area. “Two years ago we were screening our programming in 250 US-based theatres, today we’re hitting 1,300 theatres worldwide and we don’t expect it to stop there,” adds Rupp. Recent titles include Russian concert Live From The Red Square and Rockshow, featuring a classic performance from Paul McCartney and Wings. Irish exhibition chain Movies@Cinemas is one of the exhibitors showing the Mariinsky’s Swan Lake. Director Graham Spurling says alternative content can on some days account for more than half the takings on the circuit, especially in its rural theatres. “Over the last 28 months we’ve played 180 events, covering operas, ballets, plays, concerts. It’s mainly culture based but you name it, we’ve played it… we’re currently looking at showing cricket,” says Spurling.
Room for growth In another sign of the sector’s growing importance, London-based media venture capital company Arts Alliance Ventures recently invested in alternative content production and distribution company Mr Wolf, which launched in May with a focus on live and recorded music events. “Figures out there suggest the alternative business is worth $200m, rising to $600m in five years, but we think this is an underestimate,” comments John Woodward, managing director and investment director at Arts Alliance. “The digitisation of cinema networks around the world makes it far easier to drop one-off, niche programmes into available slots in a way that was impossible when theatres had to lug 35mm films on and off projectors,” continues Woodward. “We are seeing content owners, rights owners and cinemas testing what works best as they begin to grasp the more sophisticated relationship cinemas can have with their customers,” he adds. For now, the alternative content sector
www.screendaily.com
ALTERNATIVE CONTENT SCREENTECH
remains dominated by big cultural brands such as New York’s Metropolitan Opera, Moscow’s Bolshoi Ballet and the Royal Opera House in London. According to a joint report by Screen Digest and the newly launched Event Cinema Association (ECA), opera, classical music and ballet are the mainstays of the sector. The report — which looked at the situation in Austria, France, Germany, Ireland, Netherlands, Sweden, Russia and the UK — said these traditional alternative content offerings accounted for 65% of all non-film theatrical releases in 2012, up from 61% the previous year. Popular music also scored well, accounting for 11.7% of alternative content events. Mr Wolf is focusing on performances by popular artists with deep and loyal fanbases. It kicked off its activities with Andrea Bocelli: Love In Portofino, which was released in 56 territories with a special focus on Valentine’s Day and Mother’s Day screenings, and the company has just launched Springsteen & I. ECA founding chairwoman Melissa Keeping says it is smart to work with acts that have a cult following. She cites Led Zeppelin: Celebration Day, which is one of the most successful recorded concerts ever to have played in cinemas. “It was a recording of a concert at [London’s] O2 Arena in 2007, which had [20 million] ticket applications for 18,000 tickets. People came out in droves to see it in cinemas, ” says Keeping of the October 2012 theatrical launch. Under the Mr Wolf accord, digital distributor Arts Alliance Media (AAM), also backed by Arts Alliance Ventures, will distribute its line-up theatrically. One of the company’s key aims, says Mr Wolf CEO Alfred Chubb, is to give the events a longer window of exclusivity in theatres. AAM’s CEO Howard Kiedaisch says the alliance with Mr Wolf is part of a rethink about how the company handles alternative content. “We have distributed some 60 alternative content titles to date but from the end of 2011 to November 2012, when we released Coldplay Live 2012, we largely put our alternative content activities on
www.screendaily.com
Andrea Bocelli: Love In Portofino
hold while we rethought what we were doing,” says Kiedaisch. “We had been picking up titles late and working with deadlines which were too tight to do anything meaningful,” he recounts. “I went to the board and said that if we’re going to carry on doing this, let’s do it properly — we need to invest.”
Rethinking sales strategies Aside from working with longer lead times, Kiedaisch has also created a dedicated marketing department, bringing in former Paramount Pictures interactive marketing director Heath Tyldesley to head-up the team. “These events often have a limited run so we don’t have a huge marketing budget — we need to be savvy, tap into social networks, activate the fanbase,” says Kiedaisch. Los Angeles-based digital distributor Cinedigm has also recently relaunched its alternative content strategy. “We think alternative content offers a huge opportunity but we’re trying to approach it in an economic way,” says Cinedigm chairman and CEO Chris McGurk. “The old model of one-off releases is not an economically sustainable one… there needs to be
‘Figures suggest the alternative business rising to $600m in five years but we think that’s an underestimate’ John Woodward, Arts Alliance
(Left) Springsteen & I
an ancillary market for alternative content in the same way there is for traditional film content.” McGurk says this belief was one of the drivers behind Cinedigm’s acquisition of entertainment company New Video in April 2012. The company relaunched its alternative content activities earlier this year with the Docurama label, which runs in cinemas three nights a week and is also available on a subscription VoD YouTube channel. The long-term goal is for the strand to be available across a range of devices. “Our aim is that in 18 months there will be four or five of these channels dealing with themes such as kids, action sports, military — where we start off in theatres and then immediately leverage the content into the home and onto mobile devices to tap into ancillaries. The core of the release will be this branded platform into cinema and then into the home,” he explains. At present, alternative content accounts for just 10% of Cinedigm’s release slate but McGurk says he expects this to rise to 30%-40% over the next five years. He puts the total potential market for alternative content at an s excess of $1bn. ■ » CineEurope in Barcelona will present an alternative content panel, Event Cinema: New Frontiers in Alternative Content, hosted by Screen International editor Wendy Mitchell, on June 26 at 8:45am.
June 2013 Screen International 15 n
PROMOTIONAL FEATURE
WIRED UP
Deluxe Digital is thinking differently about distribution and is pushing the boundaries of its network. Neal Romanek reports
territories, Hollywood content is not always the market leader, and the new network will allow greater localisation of content without the number of screens running a film becoming a financial barrier. The network could also offer easy access to back-catalogue content and the opportunity to programme screens based on local demographics that might have their own seasonal or regional idiosyncrasies. Deluxe will still continue to distribute digital cinema packages on hard drives for the foreseeable future. Gardner says the company will continue with a hybrid model, offering both terrestrial connection and hard-drive delivery depending on a cinema’s requirements. “We have a huge stock of hard drives. We’re going to maintain that, with a cloning infrastructure, so we’re able to continue harddrive delivery if it’s needed and be able to respond rapidly if any connectivity problems arise.”
Moving pictures
D
eluxe Digital and Hewlett-Packard have begun to roll out a new terrestrial distribution network that will offer point-to-point service to any cinema in Europe, the Middle East and Africa (EMEA). The scale of Deluxe’s network plan is ambitious and would not have been possible without the Hewlett-Packard partnership. Deluxe aims to connect 6,000 sites over the next two years, starting in the UK, France, Italy and Scandinavia, with the rate of deployment only dependent on how fast Hewlett-Packard can complete the fibre infrastructure. The average data speed at each site will be 50mbps, with some content-heavy sites connected at up to 100mbps. The new network, which is already being rolled out in the UK, will allow for much more targeted distribution and a host of other services. When the deployment is fully up to speed, Deluxe predicts the connection of up to 80 sites per month in each territory, with two or three territories being connected simultaneously.
■ 16 Screen International June 2013
Jonathan Gardner, director of digital cinema at Deluxe, points out the needs of EMEA are particularly well-suited to a “point-to-point” terrestrial solution instead of “one-to-many” satellite distribution. “In some territories, satellite works really well. But in EMEA, the market is a lot more fragmented. With point-to-point distribution, a cinema can order the particular versions that it requires,” he says.
Direct delivery With so many versions of films now available — 2D and 3D, running at 24 frames per second or high frame rate, playing back a host of different sound systems, and with local-language requirements — the ability to select the right content is becoming increasingly important. A single territory could have a dozen versions of a film, all of which would be transmitted simultaneously in a satellite delivery system. The Deluxe network will also allow greater flexibility for exhibitors, enabling the programming of more regionspecific films. For some European
‘If we’re not developing technologies looking ahead to the next six to 12 months, then we’re not really doing our job’ Richard Fish, Deluxe
Overall, the network promises much greater interaction between distributor and exhibitor. Gardner notes that a terrestrial network also allows for greater targeting and depth in ancillary services. “You can have a variety of second-screen options, or marketing and advertising, or events. But there is also the ability to do all sorts of reporting, understanding distribution patterns, knowing who takes what content and when and in which cinema. You can collect all kinds of other information,” he says. The genesis of the network came with the arrival of Peter Wright as managing director. For decades, Deluxe had been a service and manufacturing company for photochemical prints. Wright established an intensive R&D programme that transformed Deluxe Digital into a technology and services company and has changed the company’s entire outlook. “It was important that we shift the emphasis of the company and innovation had to be key,” says Richard Fish, Deluxe’s commercial director. “The people we employ now come from a different background than they used to. They come from IT, from software development and architecture, from languages. Now if we’re not developing technologies looking ahead to the next six to 12 months, then we’re not really s doing our job.” ■
www.screendaily.com
3176 - VUE Screen International FP.pdf
C
M
Y
CM
MY
CY
CMY
K
1
07/06/2013
16:51