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8436 Colonial Dr., Stockton CA 95209-2319 USA
http://www.LFCA.org
Press Release - For Immediate Release - Photos Available
Media Inquiries: Judith Rubin, tel. 510/595-9664, email jrubin@lfca.org
LFCA SYMPOSIUM ADDRESSES DIGITAL PRODUCTION
IN LARGE FORMAT CINEMA, MAY 20 IN L.A.
All-day intensive will enhance annual meeting
of the Large Format Cinema Association. All-star lineup includes Ray Feeney, Marty Shindler, Brett Leonard, Charlotte Huggins, David Keighley, Richard Hollander and Sean Phillips.
The Next Wave: Digital Production in Large Format is a day-long, professional symposium that will encompass the use of digital tools and processes in production and post production, applied specifically to large format cinema. Designed to provide learning and networking opportunities to cinema professionals, the symposium runs 1:00-8:30 p.m., Sat., May 20 in Los Angeles and is presented by the Large Format Cinema Association (LFCA). Admission is $110. Space is limited and advance registration is required. For more information contact LFCA at tel. 949/831-1142, fax 949/831-4948 or send email to LFCA2000@LFCA.org.
The symposium is co-chaired by Ray Feeney, President of RFX Inc., a principal supplier of hardware and software to the digital film industry, and Marty Shindler, whose company, The Shindler Perspective provides business consulting to creative and technology companies. A highlight of the event is the closing dinner, with filmmaker Brett Leonard of L-Squared Entertainment as guest speaker. Leonard is known in mainstream cinema as the director of The Lawnmower Man, and in the large format industry as the director of T-Rex: Back to the Cretaceous and Siegfried & Roy: The Magic Box.
Other presenters include a number of prominent figures in large format filmmaking, such as Sean Phillips of MacLeod Productions, who was Visual Effects Supervisor for the films T-Rex: Back to the Cretaceous and Siegfried & Roy: The Magic Box; and Charlotte Huggins of nWave Pictures, Producer of Encounter in the Third Dimension, Alien Adventure, Haunted Castle and numerous special venue films. The major large format post production houses are also represented with Christopher Reyna of IMAGICA USA INC. and David Keighley of DKP/70MM INC.
The afternoon begins with a session on Pre-Planning and Business Issues, featuring “Visual Effects 101” from Susan Zwerman of the Visual Effects Society. In another session, Alternative Format Conversion to Large Format, PDI Producer Don MacBain will show how his company re-purposed footage from Antz and other films to 15/70 large format. Additional sessions include Content Creation, 2D Techniques, Input/Output, Stereoscopic 3D and Post Basics.
“Digital effects in large format can be astoundingly effective and successful,” comments event co-chair Ray Feeney. “But the unique technical and aesthetic characteristics of the medium demand a thorough understanding and a careful, planned approach. It’s a costly mistake to assume that large format is just like conventional cinema, only bigger.”
The Next Wave: Digital Production in Large Format is one of two Spotlight Symposia that will bookend the annual LFCA Conference and Film Festival, May 17-20. The other is Special Venue Theater: Focus on Motion Simulation, taking place May 17. The Spotlight Symposia are a separate function from the LFCA 2000 conference, requiring separate admission.
About LFCA 2000
LFCA 2000, the annual Conference and Film Festival of the Large Format Cinema Association, opens the afternoon of May 17 and closes May 20. It will feature panel discussions on vital industry topics, technical sessions, historical tributes and awards and a keynote presentation. The LFCA Kodak Vision Award will be presented to a distinguished cinematographer, filmmaker or director in the field. The Large Format Film Festival will feature new films in 15/70 and 8/70 formats. A gala closing dinner/event will be held May 19 at Universal Studios Hollywood.
LFCA 2000 and the Spotlight Symposia are open to all members of the international large format film industry. Corporate sponsorship opportunities are available, and registration and hotel reservations are now open. Contact: tel. 949/831-1142, fax 949/831-4948, email <LFCA2000@LFCA.org>. Consult the association website at http://www.LFCA.org.
About the Large Format Cinema Association
Founded in September 1996, the Large Format Cinema Association is a not-for-profit international association open to all those interested in the worldwide large format industry, including filmmakers, suppliers, manufacturers, distributors, theaters and their support industry, as well as film students, film studios and theme parks. Current membership is approximately 330. Charter President is Christopher Reyna, President of IMAGICA USA INC.
The mission of LFCA is to promote global public awareness of large-screen entertainment formats, to provide a forum for sharing information and to foster the growth of the industry. The next annual LFCA Conference and Film Festival takes place May 17-20 in Los Angeles. For more information, telephone 949/831-1142, fax 949/831-4948, consult the association website at http://www.LFCA.org or send email to <LFCA2000@LFCA.org>.
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Media Inquiries: Contact Judith Rubin, tel. 510/595-9664, email <jrubin@lfca.org>.
THE NEXT WAVE: DIGITAL PRODUCTION IN LARGE FORMAT
A Spotlight Symposium Of The Large Format Cinema Association Sat., May 20, 2000, 1:00 - 8:30p.m. in Los Angeles
Preliminary Schedule: Subject To Change
1:00-2:00
Pre-Planning and Business Issues
Moderator: Marty Shindler, The Shindler Perspective
Speakers include: Susan Zwerman, VES; Charlotte Huggins, nWave Pictures; Michael Lewis; L-Squared Entertainment
2:15 – 3:30
Content Creation
Speakers include: Richard Hollander, Rhythm & Hues; Steve Wright, Cinesite/Kodak
3:45 - 5:00
2D Techniques (compositing, matting, making it real)
Speakers include: Sean Phillips, MacLeod Productions; Craig Zerouni, Silicon Grail;
5:00 - 5:40
Alternative Format Conversion to Large Format
Speakers include: Don MacBain, PDI; David Keighley, DKP 70MM INC.; Christopher Reyna, IMAGICA USA INC.
6:00 – 7:00
Breakout Sessions
•Input/Output, Christopher Reyna
•3D (stereo), Sean Phillips and Richard Hollander
•Post Basics, David Keighley
•Business Issues, Ray Feeney and Marty Shindler
7:00-8:30
Dinner
Guest Speaker: Brett Leonard, L-Squared Entertainment |
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Heres an interesting article related to Digital
projections:
Projectors Featuring Texas Instruments Digital
Light Processing Technology Have Supporting Role
At Academy Awards(R) Ceremony"Premier projection
technology a natural for the movie industry's
premier event"
Updated 12:01 PM ET March 20, 2000Current quotes
(delayed 20 mins.)
TXN 172 15/16 -5 1/16 (-2.84%)
DALLAS, March 20 /PRNewswire/ -- Texas Instruments
(TI) today announced that projectors featuring its
award-winning Digital Light Processing(TM)
(DLP(TM)) technology had been exclusively chosen
for the world's most famous awards ceremony - the
Academy Awards(R) which, this year, will take
place on March 26th at Shrine Auditorium, Los
Angeles.
"To have DLP chosen for such a high profile,
prestigious event is a wonderful accolade," said
Bob England, Senior Vice President and manager of
TI's Digital Imaging division. "It confirms our
belief that, for anyone staging a major show in
which projecting images of the highest quality is
a key requirement, DLP is rapidly becoming the
technology of choice."
No fewer than 29 DLP(TM)-based projectors will be
featured at the Oscar(R) ceremonies. They will be
used on the main stage to project the proceedings
onto the main screen and onto side screens, thus
enabling the entire star- studded ensemble to get
the best view in the house.
"We're putting on one of the movie industry's
biggest spectacles," said Michael Seligman,
Executive Producer of the Oscar telecast, "so
everything about the event needs to be spectacular
- and that includes the quality of the projected
images. As the premier projection technology, DLP
is a natural for the movie industry's premier
event. Not only will these projectors allow us to
deliver great images to the live audience, but
also the flexibility of the technology means that
the images will look equally good in the
television coverage."
Five of the projectors being used at the Oscar
ceremonies are Extreme Light Machines from BARCO,
capable of delivering 12,000 ANSI lumens with full
SXGA resolution.
"For demanding large-venue applications, DLP
technology delivers projected images that are
flawless, compelling and captivating," said Steven
Barlow, Marketing Manager for BARCO Projection
Systems America. "BARCO's Extreme Light Machines
are being used in prestigious locations and at
high profile events around the world. We're
delighted to have this opportunity to show what
they can do at the Oscar ceremonies."
The balance of the projectors are Digital
Projection Power 8gv units, supplied by audio-
visual events specialist AVHQ.
"We are thrilled to support the Academy Awards
ceremony for the third successive year," said Mike
Levi, President of Imax subsidiary Digital
Projection, Inc. "It provides us with another
opportunity to demonstrate to a prestigious
audience the outstanding images of which POWER
Displays are capable."
Texas Instruments Digital Light Processing(TM)
technology is helping to shape the future of
cinema. Since early last year, TI's DLP Cinema(TM)
projection technology (in the form of prototype
projectors) has been exposed to close to half a
million movie-goers in a program of demonstrations
throughout the world. DLP Cinema(TM) technology is
Digital Light Processing(TM) (DLP(TM)) technology
specifically adapted for the needs of the movie
industry.
The program of demonstrations began on June 18th
1999 with all-digital showings at two North
American locations of "Star Wars: Episode I - The
Phantom Menace". This was followed in July when
'Tarzan' was shown at three locations. In
November, the number of all-digital locations was
increased to six when 'Toy Story 2' became the
first-ever major motion picture to be released
day-and-date in both film and digital formats.
Following the opening of 'Toy Story 2',
'Bicentennial Man' opened in all-digital form at
an additional six locations. In February, 2000,
DLP Cinema(TM) achieved a global milestone with
the installation of five prototype projectors in
Europe, bringing the total to seventeen. A further
installation recently took place in Japan.
Today, TI supplies DLP(TM) subsystems to more than
thirty of the world's top projector manufacturers,
who then design, manufacture and market DLP(TM)-
based projectors. There are now over fifty
DLP(TM)-based products in the market. Since early
1996, over 300,000 DLP(TM) subsystems have been
shipped. Over the past four years, DLP(TM)-based
projectors have consistently won some of the
audio-visual industry's most prestigious awards,
including, in June 1998, an Emmy Award from the
Academy of Television Arts & Sciences.
At the heart of TI's Digital Light Processing(TM)
technology is the Digital Micromirror Device(TM)
(DMD(TM)), an optical semiconductor chip that has
an array of up to 1,310,000 hinged, microscopic
mirrors which operate as optical switches to
create a high resolution, full color image.
NOTE: Texas Instruments Incorporated is a global
semiconductor company and the world's leading
designer and supplier of digital signal processing
and analog technologies, the engines driving the
digitization of electronics. Headquartered in
Dallas, Texas, the company's businesses also
include materials and controls, educational and
productivity solutions, and digital imaging. The
company has manufacturing or sales operations in
more than 25 countries.
Texas Instruments is traded on the New York Stock
Exchange under the symbol TXN. More information on
TI's DLP(TM) technology can be found on the World
Wide Web at http://
www.ti.com/dlp.
Digital Light Processing, DLP, Digital Micromirror
Device and DMD are all trademarks of Texas
Instruments. All other products and names may or
may not be trademarks or registered trademarks of
their respective companies.
Contact: Ian McMurray of Texas Instruments, 44-
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