(iamrogue.com)
If you're looking to tell an epic tale, then look no further than the Old Testament story of Moses, from his being set afloat on the Nile River as a pup though his personal chats with Yahweh to the liberation of his people from their oppression in Egypt and possibly including a forty year trek through the desert.
If you're doing a new take on Moses, it's going to have to stack up against The Ten Commandments, Cecil B. Demille's three hour and forty minute 1956 epic. So who could possibly deliver an appropriately massive new version of Moses' story? How about Steven Spielberg, who, according to an as yet unconfirmed rumor, is in talks to direct Gods and Kings.
In September, Deadline reported that Warner Bros was interested in courting Spielberg to helm Gods and Kings from a screenplay by Michael Green and Stuart Hazeldine. Apparently their take rather ambitiously follow old Mo from birth to death, including the Biblical plagues and the parting of the Red Sea.
With a story of that scope and ambition, it's not terribly surprising that the studio, as well as producers Dan Lin and Matti Leshem, would want to the biggest director in existence to ensure that the film not only gets made, but gets made right. Now, Twitch is reporting that the interest is reciprocal, with the director of Raiders of the Lost Ark and Schindler's List enterting negotiations with the studio.
Spoielberg hasn't directed a feature since Indiana Jones and the Kingdom of the Crystal Skull in 2008, but this December sees the release of two films from the Bearded One: the motion-capture 3D popcorn jaunt The Adventures of Tintin and the WWI drama War Horse. Those two hit theaters just days apart, and Spielberg's already working on his next project, Lincoln, which adapts a portion of Doris Kearns Goodwin's Team Of Rivals: The Political Genius of Abraham Lincoln.
That film, starring Daniel Day Lewis as the 16th President of the United States, will likely be followed by Robopocalypse, a science fiction blockbuster written by Drew Goddard and based on the novel by Daniel H. Wilson. In September, we learned that Fox and Dreamworks would team up to finance Robopocalypse.
It's unclear just where Gods and Kings would fit into Spielberg's busy schedule if he does commit to directing.
Speaking of Old Testament epics, Darren Aronofsky is currently hard at work on Noah, his passion project based on around Biblical flood. Paramount and New Regency are financing that would-be epic, with production tentatively set to being in the spring of next year.
Warner Bros. Penning 'Man of Steel' Sequel
(latinoreview.com)Despite bringing in mostly positive reviews and a decent box office pull-in worldwide, director Bryan Singer was unable to make 2006's 'Superman Returns' anything but a one-off. '300' and 'Watchmen' director, Zack Snyder is currently in the midst of filming his crack at it, 'Man of Steel,' which has Henry Cavill of 'Immortals' in the lead.
It's no secret that Marvel has been dominating the comic book to film adaptation circuit. They're creating an interlocking universe by signing actors to deals that will haunt them in the afterlife. DC on the other hand has Batman. A very fine Batman in Christian Bale under the direction of Christopher Nolan, but simply Batman nonetheless. 'Green Lantern' didn't pay off. Who knows what's going to happen with 'The Flash.' DC's hopes of getting out of the Gotham grind lay on Superman's shoulders.
According to Think McFly Think, DC may have another series in 'Man of Steel.' Early word from Warner Bros. is that they're liking the footage they've seen and the script they've read. They've gone as far as to come up with a shortlist of screenwriters for a the next outing featuring the likes of Steve Kloves, ('Harry Potter and the Deathly Hallows: Part 1 & 2') Travis Beacham, ('Clash of the Titans') and Lawrence Kasdan. ('Star Wars: Episode VI - Return of the Jedi')
This is early, early stuff that doesn't have a hint of confirmation, but if true, it's great to hear that 'Man of Steel' is shaping up nicely. The film is said to be wrapping up shooting in early 2012, but it's not hitting theaters until June 14, 2013.
U.S Studios Supporting Pinewood Shepperton
(hollywoodreporter.com)LONDON – U.K. studio facilities group Pinewood Shepperton, so often the destination for Hollywood-backed shoots, said Tuesday 2011 revenues from movie-making are in line with last year’s levels.
The group, currently listed on the stock exchange, told the market its interims for July 1 through Nov. 14, 2011 for movie revenues were stable.
Movies using the facilities at the group’s sites – including both Pinewood and Shepperton – included Prometheus (Fox), Dark Shadows (Warner Bros), Snow White and the Huntsman (Universal) and Anna Karenina (Working Title Films).
And the group is also welcoming the first few days of the shoot for the 23rd James Bond film Skyfall (Eon Productions/MGM/Sony Pictures), which sees the return of Daniel Craig as 007. It began shooting just days before the end of the interim period.
It’s not all silver screen adventures at the studio facilities.
The company’s statement comes less than a week after the U.K. government renewed the country's commitment to its film tax credit system to the end of 2015 paving the way to continue to attract studio backed projects.
The demand for the group’s large scale facilities for television production remains positive from producers.
Pinewood Shepperton also noted television revenues for the same “are significantly ahead of the same period in 2010.”
TV productions shooting in that period include Don’t Stop Me Now (Sky One), Lee Mack’s All Star Cast (Zepperton) and The Rob Brydon Show (talkbackTHAMES).
Pinewood Shepperton, under new ownership after British property group Peel Holdings finalized its long-gestating takeover plans in July this year, is also mulling its future status as a listed company on the stock exchange here.
Space Ships In John Carter Will Be Like 18th Century Tall Ships
(sfx.co.uk) Actor Dominic West, who stars as the villainous Sab Than in Pixar’s first ever live-action film, the Mars-set John Carter, has revealed to SFX that the film is going to have a strong swashbuckling vibe.
“We were flying around on ropes and fighting,” he says. “It’s shot on film and I think it’s the last film Disney will ever shoot on film. It’s got an old fashioned feel to it, at least that’s what I think [director] Andrew [Stanton]’s going for. The spaceships are like tall ships from the 18th century – there are lots of ropes, there’s lots of brass and wood and huge sails that are powered by light. The spaceships are actually ships.”
The film is based on the 11-volume pulp sci-fi Barsoom novels of Edgar Rice Burroughs (popularly known as the John Carter Of Mars books), originally published in the first half of the 20th Century. In the film, former Confederate captain John Carter (Taylor Kitsch) is transported to Mars (or Barsoom as it’s known in the series) where he becomes embroiled in a civil war.
West describes his character, Sab Than, Prince of Zodanga, as “a fairly straightforward evil villain who wants to take over Mars and get the girl. So that’s what he tries to do but inevitably the hero stops him doing that.”
He is also full of praise for the production values on the film and its director, Andrew Stanton, for whom this is his first live-action gig (having previously directed Finding Nemo and WALL-E, among others): “It feels extraordinary walking onto a set they spent $350 million on, or being in a film with a huge budget like that. That in itself was very exhilarating, then meeting and working with Andrew Stanton was really interesting because he’s one of the best around at the moment.”
West was particularly impressed with the way Stanton ran this ship. “I said to him, ‘It seems incredibly efficient, your film; it’s really well run and I got scripts through four months ahead.’ It just seemed really efficient. And he said, ‘God, it’s so inefficient compared to animation – it’s incredible inefficient!’ I suppose it’s because there are so many more variables than in animation. But he took that very much in his stride. Certainly in terms of story – and how to construct a story – he’s probably the best there is in the world at the moment in terms of his track record. It was fascinating working with him and also seeing the technology.
“In terms of acting it’s difficult because you’re usually acting to a cross on a big green screen. I tend to be doing a lot of that, running up with a stick that was half-formed on a set that was only half built and reacting to a tennis ball. It’s a whole different discipline.”
And he’s very eager to see the final film: “I can’t wait, I think it’ll look like nothing you’ve seen before. It starts off as a Western and then it goes to Mars and becomes Star Wars. It’s a pretty extraordinary film.”
Dark Horse, Del Rey Meet With Lucasfilm
(theforce.net) Teams from Del Rey Books and Dark Horse Comics were at Lucasfilm's Presidio campus in San Francisco on Thursday and Friday to plan the future of Star Wars publishing. From Del Rey, director of publishing and creative development Keith Clayton, licensing editor Frank Parisi, and editor-at-large Shelly Shapiro attended. From Dark Horse, editors Randy Stradley and Dave Marshall, plus Marketing VP Micha Hershman, attended. Here are a few links to give you a sense of what the publishing pow-wow was like:
Full story with tweets: http://www.theforce.net/latestnews/story/Dark_Horse_ Del_Rey_Meet_With_Lucasfilm_ 141727.asp
Sony Pictures' 'Smurfs 2' To Shoot In Montreal
(hollywoodreporter.com)The Hollywood studio is bringing three CGI-heavy movies to Quebec for production one after the other to take advantage of generous tax breaks and digital media incentives.
TORONTO - Studio movie shoots in Canada these days increasingly come in bunches for added production savings.
Roland Emmerich may have delayed production on his sci-fi epic Singularity in Montreal, but that hasn’t stopped Sony Pictures piling into Quebec with yet more big-budget movie shoots.
The studio is now likely to shoot the $175 million Singularity picture in fall 2012, ahead of a May 2013 release, after Steven Spielberg wraps production on Robopocalypse at the Cite’ du Cinema studio in summer 2012.
Now there’s word Sony Pictures is to shoot the upcoming sequel to The Smurfs and its Houdini project in Montreal as it takes advantage of Quebec’s generous all-spend tax credit and additional digital media tax incentives for live action/CG hybrids.
The studio is near to starting pre-production on The Smurfs 2, which has an August 2, 2013 release, and Jordan Kerner returning as producer.
And Sony Pictures is also sending to Montreal director Francis Lawrence’s high profile film about Houdini, the famed escape artist and magician.
US Theme Parks Offer Immersive Rides for 2012
(washingtonpost.com)A host of new roller coasters, a 12-acre town lifted straight out of the animated “Cars” movies and an elaborate “Transformers” 3-D simulator ride are among the new theme park attractions scheduled to open around the country in 2012.
The list was introduced Tuesday by the International Association of Amusement Parks and Attractions as the trade group opened its weeklong expo at the Orange County Convention Center. The event drew around 25,000 people to wander 500,000 square feet of exhibits highlighting what’s new in the industry — from rides and ticketing systems to concessions and smartphone apps for park guests.
Disney California Adventure is opening “Cars Land,” replicating the town of Radiator Springs from the movies, including a race-course ride and two other new attractions. Universal Studios Hollywood is debuting the new “Transformers” ride, and Walt Disney World in Orlando will open the first phase of the new Fantasyland with several new attractions, including a dark ride based on the adventures of the Little Mermaid character. A Little Mermaid attraction previously opened at Disneyland in California.
SeaWorld Orlando announced last week a new attraction for 2012 centered on sea turtles, including a first-of-its-kind 360-degree domed theater showing a 3-D movie about the endangered creatures. Legoland, which opened in October in central Florida, is renovating and reopening an existing water park at the site next year.
New roller coasters opening in 2012 include the “Manta” at SeaWorld San Diego, which will simulate underwater flight; and “Superman”-themed launch coasters at Six Flags Discovery Kingdom in Vallejo, Calif., and Six Flags Magic Mountain in Valencia, Calif. Six Flags Great America in Gurnee, Ill., introduces a new coaster called “X-Flight.”
Hersheypark in Hershey, Pa., introduces a 200-foot-tall coaster called “Skyrush,” which will reach speeds of 75 mph. Dollywood in Pigeon Forge, Tenn., will offer the 210-foot-tall “Wild Eagle.” Busch Gardens Williamsburg in Virginia unveils a half-mile-long coaster called “Verbolten.”
“I think this is the first time in several years we’ve seen that number of blockbuster attractions open in one year,” trade group spokesman David Mandt said Tuesday.
As expected, the theme park industry overall saw modest growth — around 2 to 4 percent — in 2011 as parts of the country have been slower to recover from recession. Analysts predict about the same for 2012.
“If weather, if economy, if oil (prices) all stay about where they are now, we would anticipate another up season,” said industry consultant Dennis Speigel, president of International Theme Park Services Inc. “There’s a lot of new product coming on line for 2012, so the parks should be able to capitalize on that.”
Attractions continued to offer deep discounts to get guests in the gate in slow times of the year, and are still trying to “wean themselves off of it,” Speigel said. October was a good month as many parks capitalized on Halloween.
“You look at how (parks) have all adjusted themselves and do better with what they’ve got,” said Steve Baker, an Orlando-based industry consultant and president of Baker Leisure Group. “I think it’s going to be a growth year, but I don’t know how big.”
Trends on the horizon include the development of more sophisticated immersive, interactive rides, and better smart-phone apps that can direct guests inside the parks.
“In the next 10 years, we’re going to see our level of participatory and interactive (attractions) ratchet up to new dimensions,” Speigel predicted.
The global gathering in Orlando this week, the largest of the year for the $24 billion attractions industry, drew more than 1,100 exhibitors from 32 different nations.
ANIMATED ASPIRATIONS
(rafu.com) David H. Tanaka’s resume reads like a list of the most popular films of the past 20 years.
Not surprising, considering that his last employer was George Lucas’ Industrial Light and Magic (ILM) and his current employer is Pixar.
The UC Berkeley graduate, whose latest credits include “Toy Story 3” and “Cars 2,” lives in Marin County and commutes across San Francisco Bay to Pixar’s studios in Emeryville. While with ILM, he lived in the East Bay and commuted west to Marin.
Tanaka joined ILM in 1990, starting out as first assistant to the head art director on “Hook” (1991), a live-action sequel to “Peter Pan” starring Robin Williams.
Tanaka moved up to visual effects editorial coordinator on such films as Steven Spielberg’s dinosaur epic “Jurassic Park” (1993) and the Jim Carrey comedy “The Mask” (1994), then assistant visual effects editor on “The Abyss” (director James Cameron’s cut) and “Forrest Gump” (1994), among others. The effects in the latter film included inserting Tom Hanks into footage of historic figures like Presidents Kennedy, Johnson and Nixon.
After serving as visual effects editor on “Jumanji” (1995), which featured a stampede of computer-generated animals, Tanaka became lead visual effects restoration editor on Lucas’ “Star Wars: Special Edition” trilogy, in which all of the visual effects in the original “Star Wars” movies were redone. He did similar work on the re-release of Spielberg’s “E.T.” and the DVD release of “Raiders of the Lost Ark.”
He was senior visual effects editor on “Star Wars, Episode I: The Phantom Menace” (1999) — which featured characters that were entirely CGI — as well as “101 Dalmatians” (1996), “Space Cowboys” (2000), Tim Burton’s “Planet of the Apes” (2001), and “Men in Black II” (2002), to mention a few. He worked closely with animators, compositors, and live-action picture editors.
Tanaka then joined Pixar, becoming one of the few to have worked at both companies.
“Considering that Pixar is approximately 1,200 employees total now, the percentage of those persons who have worked at both ILM and Pixar is rather miniscule,” he noted. “There are so many talented artists out there from so many diverse backgrounds and companies that it really surpasses the ‘Bay Area scene,’ and Pixar is very respectful and very much in tune to the global market, gathering such incredible talent from all over the world, which is one of their key strengths.”
Working with WALL•E
Tanaka said he moved to Pixar because “I felt that my 15-year growth at ILM as a visual effects editor was quite complete by 2005. I was able to evolve from an art department production assistant to an editorial coordinator to an assistant visual effects editor to finally a senior visual effects editor over those 15 years, and in the process really contribute to some ground-breaking feature film projects in regard to the digital revolution. By 2005, I felt really good about my contributions to the company, but at the same time felt that I should really challenge myself in other feature film mediums as a professional editor.
“In addition, my two sons, Mitchell and Benjamin, were 2 and 4 at the time I was contemplating joining Pixar, and I thought they would really have a fun time with Daddy working with Buzz and Woody (from ‘Toy Story’), Remy (‘Ratatouille’), Sully (‘Monsters Inc.’), WALL•E, Lightning McQueen (‘Cars’), etc.”
At Pixar, Tanaka serves as the lead for all editorial services regarding trailers, music videos, international releases and marketing needs for the entire studio. In that capacity, he acts as a co-editor and post-production supervisor for all trailers shown in theaters.
“For international releases, we have a very meticulous production pipeline procedure in which our feature films are constantly reviewed and re-reviewed to determine what graphical signage in the movie needs to be translated from English into a different country’s language in order for the narrative to still be just as effective in a foreign territory,” he explained.
“Because all of our content is ‘virtual,’ replacing English text — say a spy computer readout from ‘Cars 2,’ or Ellie’s ‘My Adventure Book’ from ‘Up’ — can be accomplished. However, it is a very detailed process which takes a lot of time and resources in a very compacted amount of time, requiring a lot of editorial ‘checks and balances’ in order to one day have an audience member in, for example, Russia say, ‘Wow! This movie’s in Russian. They must’ve made it just for me!’ ”
He added, “The ‘checks and balances’ aspect to the post-production process is very akin to what I did at ILM as a visual effects editor.”
In the area of marketing, Tanaka is responsible for editing special Pixar projects as they come up. For the 2009 Academy Awards, he put together a montage in which WALL•E looks at scenes from the “Best Animated Feature” nominees (based on the scene where the robot watches an old video of Hello, Dolly”). For this year’s Oscar ceremony, Tanaka assembled scenes from “Toy Story 3” that were projected behind Randy Newman as he sang a song from that movie, “We Belong Together.”
“Fortunately, both ‘WALL•E’ and Randy Newman won Oscars those respective years,” Tanaka said.
He also does assorted editorial support tasks for Pixar’s Theme Park Division, servicing attractions at the Disneyland Resorts.
Coming Attraction
Tanaka is already promoting Pixar’s latest, a fairy tale set in ancient Scotland with a female protagonist.
“Currently I’m working on a preview trailer for our next animated feature film, ‘Brave,’ which comes out next summer in 2012,” he said. “I love working on Pixar trailers, for they are quite challenging in very unique and specific ways — you’re very restricted by running time, around 2½ minutes in length, and you’re trying to give the general audience a ‘sense’ of the movie’s story, but not too much.
“You want to preserve some suspense, curiosity and anticipation in the months leading up to the film’s release and, on top of all of that, you’re trying behind the scenes to piece together animated footage which may take months to complete; created footage which has to be animated and rendered over hundreds of processing hours, involving hundreds of crew members.
“It’s not like you can just pick up a camera or use some footage that was shot ‘on set’ or ‘on location,’ like from a live-action feature film. Instead, it all has to be virtually created. Because of that, there is a lot of collaboration between the Pixar ‘Brave’ production crew, my department, Pixar Creative Film Services, Disney Studios and also Skywalker Sound, who does all of our sound mixing.
“We’re putting the finishing touches on the first official ‘Brave’ preview trailer right now for this fall and I’m very excited to see how moviegoers will respond to it!”
Concept Artist Adi Granov Talks Upcoming Marvel Films
(superherohype.com)Dodges the Skrull question and explains why we won't see Hulkbuster armor anytime soon
A Marvel Comics mainstay since 2004, Adi Granov is best known for his dynamic cover designs and, when Jon Favreau began work on the first Iron Man film, the director enlisted the aid of Granov to help design Tony Stark's armor. Italian website Bad Taste caught up with Granov at this year's Lucca Comics and Games convention and got a few interesting details about his involvement with the filmic Marvel Universe.
Though he's involved in next summer's The Avengers, he's remaining fairly mum on what we'll see on the big screen.
"I really know what the villains are," he said when asked about the persistent rumors that the Skrull race would play a role in the film, "but I’m not gonna confirm or say here!"
Granov did confirm one thing that won't be seen on the big screen anytime soon: Iron Man's Hulkbuster armor, which he illustrated for a 2006 story-arc.
"In the first movie we had the Iron Monger," he explained, "the idea for him came from the Hulkbuster. I did a cover with the Hulkbuster in it. Jon Favreau liked that design and asked me to draw something similar to it for the Iron Monger. So technically the Iron Monger is the Hulkbuster, and that I think is why for a while we won’t see it in a movie. It would only be yet another Iron Man big type of armour."
'Iron Man 3' Director Still Working On 'Death Note' And 'Doc Savage'
(splashpage.mtv.com)Before he was announced as the director of "Iron Man 3," Shane Black was attached to two other Splash Page friendly properties. One, "Death Note," was his adaptation of the popular anime and manga series about a young student who can kill anyone whose name and face he knows by simply writing his target's name in a supernatural notebook. The other, "Doc Savage," was based on the popular pulp hero and his endless high adventures.
Understandably, the third "Iron Man" movie is Black's primary focus at the moment. But in a new interview, the director added that he's still hoping to get "Death Note" and "Doc Savage" made before long — although both projects have their fair share of obstacles to overcome.
"I do want to do 'Doc Savage,'" Black told Comic Book Resources. "The script is still evolving and I'm kind of busy, but I want to get it right and I want to do it."
Aside from being busy, Black sees another difficulty: making these movies "real world and adult," words that aren't necessarily synonymous with the action-adventure genres in this day and age, in his opinion.
"If we did 'Death Note,' the challenge is make it real world and adult; if we do 'Doc Savage,' the challenge is make it adult," said Black. "I think that there are so few practitioners of action movies these days who are doing worthwhile stuff that it behooves me to try to weigh in and try to do the 'Raiders Of The Lost Ark'-type stuff, to try to recapture the magic. When I stood in line for a summer movie when I was coming up at eighteen, nineteen, twenty years old, I stood in line for two and a half, three hours and you got the goods! They delivered! And if they didn't, you went outside and said, 'Arg, 'Indiana Jones 2' wasn't that good, I stood in line for three hours!' Now, you don't know what you're getting!"
Doug Trumbull Wants to Make a 120FPS 3D Space Adventure Movie
(firstshowing.net)I just love reading that kind of crazy (sci-fi) headline, it's one of those that makes you go "what?!" instantly. The story comes from a few new interview quotes posted on Bleeding Cool found via our friends at The Film Stage. Douglas Trumbull, aka Doug Trumbull, is a legendary special effects creator/producer/filmmaker who's worked for Stanley Kubrick, Terrence Malick, Ridley Scott and Steven Spielberg. He's now 69 years old but still pushing along, even trying to revolutionize cinema as we know it today, which is exactly what he explains in the interview with Bleeding Cool, while mentioning a space project he wants to make. Read on!
While Trumbull has been linked recently to Terrence Malick's Tree of Life (he did the origin of the universe sequences) and the rumored IMAX follow-up, we posted a story in April this year about Trumbull working on his very own 3D high framerate feature film. We know that The Hobbit is shooting at 48FPS and James Cameron demo'd both 48 and 60FPS, but Trumbull says in the interview he's pushing speeds of up to 120FPS. Why not higher? "I don't see right now any visible advantage to go even higher than 120 frames, I think that's about as much as the human eye can absorb." That sounds pretty crazy, I can't even imagine.
Trumbull goes on to say exactly that, that few people have truly seen what this is like. Here's a few quotes:
"I'm shooting films right now at 120fps in 3D and I know that the result is absolutely stunning but very few people on this planet have actually seen that, yet. I have a very challenging process ahead of me to start demonstrating this and doing at least one film that I want to make.
"I have several films lined up but I've got one in particular that would lend itself to this. It's a big space adventure movie. And I've got to make the movie and show it in this process and convince people that there's a very big audience that wants to see this kind of tremendous technological, creative, visual leap forward to much higher quality."
Trumbull explains that if he can achieve something like this, it will be a huge visual step forward, which is kind of what he did with 2001: A Space Odyssey. He explains: "Combining 120 frames and high brightness and gain screens that are very wide and large with a different seating configuration is a huge epic change that will take some time to effect. But I'm working on it." To be frank, this sounds a little too insane to seem real, but maybe he's working on something, despite how long it'll take to actually see. I'm intrigued, and I truly can't imagine what 120FPS is like, I was blown away by 60 at CinemaCon. As for the space adventure, which I'm excited for no matter what, he sheds a bit of hazy light on what it might be about in a follow-up.
When asked if any of these big sci-fi projects will have an "ecological bent", Trumbull responds saying:
"Well, not so much an ecological bent as much as a survival bent. Having to do with reaching for the stars and why we would have to go to the stars. Are we using up this planet at such an exponential rate with population growth and the depletion of the resources that we're going to have to leave the Earth?"
35mm Film Will be Dead by 2015
(technolog.msnbc.msn.com) Celluloid 35mm film has been a key fixture in movie theater projection rooms for over 120 years, but — according to one report — its reign will soon be over. Long story short? Digital is in, analog is out, and James Cameron's "Avatar" is to blame.
The folks at the IHS Screen Digest Cinema Intelligence Service report that the beginning of 2012 will "mark the crossover point when digital technology overtakes 35mm." And after that there's no good news for the old format based on the company's predictions:
By the end of 2012, the share of 35mm will decline to 37 percent of global cinema screens, with digital accounting for the remaining 63 percent. This represents a dramatic decline for 35mm, which was used in 68 percent of global cinema screens in 2010. In 2015, 35mm will be used in just 17 percent of global movie screens, relegating it to a niche projection format.
And what's to blame for this shift? According to David Hancock, head of film and cinema research at IHS, the rise of 3-D films got the ball rolling — but the big damage occurred in 2009, when a little movie called "Avatar" hit the screens and digital technology's share of the movie market grew drastically.
Hancock explains that before the movie's release "digital represented only a small portion of the market, accounting for 15 percent of global screens in 2009." But after the movie? Digital technology's share was seen "jumping by 17 percentage points in both 2010 and 2011, compared to the single-digit increases during the previous years."
So what does it all mean? Well, distributors, suppliers and the like will have to carefully manage the transition and keep an eye on supply and demand, for one thing. There will also be a need to digitize existing content as the use of 35mm prints is phased out.
But when it comes to the average movie-goer's perspective? There's no need to worry too much.
In the United States, mainstream 35mm usage will likely end sometime around 2013. In Western Europe, the death of the format is predicted by the end of 2014. And then the rest of the world will follow suit and bid 35mm goodbye by the end of 2015.
No comments:
Post a Comment