For a very long time, I’ve been proselytizing to just about anyone who would listen about how digital projection could change the way we think about a theatrical release. While most people in the industry focus on cost savings, which can be substantial over time, I’ve been fascinated with the disruptive element–the fact that our entire notion of what constitutes the traditional theatrical model has been built around the economics of shipping these precious items called “prints” around. These assets, once bought, beg to be used as often as possible to justify their cost. Yet, every time the print is run through a projector it is deteriorating, and constantly at risk of being severely damaged. Switching from one film to another in the projection booth is a clunky process of splicing and unsplicing reels, subjecting the prints to even further potential damage. It’s not for nothing that the budgets for theatrical release are called P&A, indicating that the budget for prints has a prominence that is equal to or greater than any other part of the distribution budget. Continue reading
There has been a lot of discussion recently among the mission-driven, independent art houses in the U.S. regarding the transition to digital. The art houses are stuck between a rock and a hard place due to the cost of DCI compliant (studio approved) equipment that would be necessary to show such cash cows as “Black Swan” or “The King’s Speech” — equipment that the art houses simply can’t afford — while the vast majority of the real indie movies that they play are not available in that format. Further angst is caused by the sense that it is only a matter of a few years before there simply are no more 35mm prints available. In the midst of a lot of doom and gloom, Russ Collins, the Executive Director of the Michigan Theater in Ann Arbor and a leader of the Art House Convergence wrote the following guest blog…
Anyone who knows me well, knows that I simply don’t do Apple. I’m not going to go into all the reasons here because today I want to rant about another company, HP.
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In the parlance of academia, my area of research is film–specifically independent film. I’ve devoted my entire working life to trying to make and distribute films for which there was no place within the major studio system. So it is as surprising to me as it is to all of you that I’ve become somewhat of an opera impresario by virtue of distributing live and recorded broadcasts of opera into movie theaters.
Just got back from Vegas, one of my least favorite places in the world, where I was on a panel at the International Film Festival Summit. It’s a great event, where the folks who manage and program film festivals all over the world get together to compare notes and learn best practices.
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- Carmike Cinema's Ballet in Cinema series resumes Sunday - Columbus Legder-Enquirer, 3/10/2012
- University Challenged – Educational Approaches To Filmmaking | new model cinema, 2/8/2012
- Does Digital Spell the End of the Art House? | ReelPolitik, 1/18/2012
- After gruesome 2011, Hollywood looks to rebound at box office - NY Daily News, 12/30/2011
- Tips on Indie Distribution, Funding, Casting, The Independent, 11/2011
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