Judgment comes after Court held Hotfile liable for copyright infringement, helping clear the way for legitimate, innovative online services to take root and thrive
WASHINGTON - The U.S. District Court for the Southern District of Florida has ordered Hotfile to cease operations unless it employs copyright filtering technologies that prevent infringement of the studios' works. The judgment, entered today, also awards damages against Hotfile in the amount of $80 million. The entry of the judgment against Hotfile marks the end of the studios' litigation against the cyberlocker and its principal, Anton Titov.
"This judgment by the court is another important step toward protecting an Internet that works for everyone," said Senator Chris Dodd, Chairman and CEO of the Motion Picture Association of America. "Sites like Hotfile that illegally profit off of the creativity and hard work of others do a serious disservice to audiences, who deserve high-quality, legitimate viewing experiences online."
The "digital fingerprinting" copyright filtering ordered by the Court is proven to work and readily available from several commercial technology providers. Major websites and content services have been using the technology for years.
The judgment comes after the Court in August 2013 found Hotfile, one of the world's most trafficked infringing sites, liable for copyright infringement, and rejected Hotfile's "safe-harbor" defense under the Digital Millennium Copyright Act. The Court further held that Titov was personally liable for Hotfile's infringement. This case marked the first time that a U.S. court has ruled on whether so-called cyberlockers like Hotfile can be held liable for their infringing business practices.
About the MPAA
The Motion Picture Association of America, Inc. (MPAA) serves as the voice and advocate of the American motion picture, home video and television industries from its offices in Los Angeles and Washington, D.C. Its members include: Walt Disney Studios Motion Pictures; Paramount Pictures Corporation; Sony Pictures Entertainment Inc.; Twentieth Century Fox Film Corporation; Universal City Studios LLC; and Warner Bros. Entertainment Inc.
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By Shawn Robbins
The holiday box office is in full swing thanks to a trio of November blockbusters. The Hunger Games: Catching Fire, Thor: The Dark World, and Frozen helped drive a $1.07 billion month--the second biggest November gross in history, and just 1.8 percent behind last year's penultimate month.
Those top three flicks combined for $545.4 million through November 30, or about 51 percent of the month's total gross. By comparison, November 2012's top three earners (Skyfall, The Twilight Saga: Breaking Dawn - Part 2, and Wreck-It Ralph) accounted for a somewhat larger share at 58 percent.
Rounding out the top films of the month were The Best Man Holiday, Ender's Game, and Last Vegas. October holdovers Jackass Presents: Bad Grandpa and Gravity also showed excellent staying power throughout November. You can view the month's top ten grossers below this story.
November boasted some shining moments, although most of them came in the final week when Lionsgate's Catching Fire broke the November opening weekend record with $158.1 million (besting New Moon's $142.8 in 2009) and proceeded to break the 3- and 5-day Thanksgiving records with $74.2 million and $109.9 million, respectively. Those figures shattered the long-standing records of $57.5 million and $82.4 million held by 2001's Harry Potter and the Sorcerer's Stone. (For those curious, the first Potter's 3-day Thanksgiving weekend gross would be approximately $82 million with today's ticket prices.)
Disney notably dominated the month as well. Thor: The Dark World reaffirmed the "Avengers bump" by posting a significantly higher debut ($85.7 million) than the first film, and is now on pace to become the first $200 million film in the Marvel Cinematic Universe without the presence of Robert Downey, Jr.'s Tony Stark/Iron Man character.
But, it was Walt Disney Animation's Frozen that has impressed most in recent days. Surpassing all expectations before release, the animated musical posted a massive $93.6 million 5-day opening over Thanksgiving weekend (including a $67.4 million 3-day weekend)--blowing away the $68.7 million 5-day start of Tangled back in 2010. The pic also surpassed Toy Story 2's 14-year-old records for 3- and 5-day Thanksgiving openings. With strong word of mouth, rave reviews, and a female-driven audience with few options in December, Frozen will sail past $200 million domestically and is poised to challenge Monsters University ($268.5 million) as Disney's best animated grosser in 2013.
When considering inflation, last month marked the third best November moviegoer attendance since 2005.
The fourth quarter has rung up $1.7 billion since October began, just $61.5 million behind 2012's combined October and November grosses which toppled the previous best of $1.685 billion in 2009.
Year-to-date, 2013 has accumulated $9.87 billion in domestic revenue. That gives 2013 a slim 0.16 percent margin ahead of 2012's pace, and 2.3 percent behind in terms of tickets sold.
Looking ahead: December boasts another competitive release schedule, anchored by December 13's The Hobbit: The Desolation of Smaug. We expect a decrease in domestic returns from last year's An Unexpected Journey, although the stronger marketing campaign and (rumored) quicker pace of the film could strengthen Smaug's audience retention. December 18 will then see the long-awaited release of Anchorman 2: The Legend Continues, a film which has arguably executed the best pre-release ad campaign of the year through Will Ferrell's viral Dodge Durango commercials. We also expect Tyler Perry's A Madea Christmas (December 13) to ring up solid holiday business.
David O. Russell's American Hustle (limited December 13, wide December 20) and Martin Scorsese's The Wolf of Wall Street should find great success thanks to their star-studded ensembles, while Tom Hanks and Emma Thompson headline the likely crowd-pleasing Saving Mr. Banks (limited December 13, wide December 20). Following those flicks, Ben Stiller shifts his past comedic Christmas gears into the more dramatic-natured The Secret Life of Walter Mitty on December 25. He'll face off against his Meet the Parents co-star, Robert de Niro, and Sylvester Stallone in Grudge Match over a jam-packed Christmas weekend.
Check back in the days and weeks ahead for full analysis on December's high profile releases.
November 2013's Top Domestic Grosses
1. The Hunger Games: Catching Fire ($282.1 million)
2. Thor: The Dark World ($184.6 million)
3. Frozen ($78.7 million)
4. The Best Man Holiday ($61.6 million)
5. Ender's Game ($59.2 million)
6. Last Vegas ($58.1 million)
7. Jackass Presents: Bad Grandpa ($56.9 million)
8. Free Birds ($52.9 million)
9. Gravity ($43.2 million)
10. Captain Phillips ($28.5 million)
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XP-D Digital Cinema Servers and QubeMaster Pro Mastering Software Sales in Five Countries
Buenos Aires, Argentina: Dec. 3, 2013... Qube Cinema has sold its digital cinema servers and DCP mastering software to Cinecolor postproduction facilities in five Latin American countries. Each of the Cinecolor post houses - in Argentina, Chile, Brazil, Mexico and Columbia - now has a Qube XP-D server in its screening room for QC of its DCPs. Cinecolor Argentina and Columbia also use QubeMaster Pro for mastering DCPs. The DCP mastering and QC equipment enable Cinecolor to meet the growing demand for digital cinema postproduction services in Latin America.
With a long history in film processing expertise behind them, Cinecolor, owned by Grupo ChileFilms, has surged into the digital cinema postproduction market. Cinecolor Argentina, located in Palermo Hollywood, Buenos Aires, was the first company in Argentina to offer digital transfers from 35 mm film. It covers all the stages of postproduction in one spot.
"Film's place in cinema is disappearing and forty percent of the screens in Argentina are now digital," said Mario Zambrino, technical director at Cinecolor Argentina. "Having an efficient digital workflow is imperative for us and that's where Qube Cinema comes in. We use the Qube XP-D digital cinema server for our post processes and QubeMaster Pro is one of the tools we use to package DCPs."
The Growth of Digital Cinema in Latin America
Cinecolor is the oldest postproduction company in Argentina, and the biggest, handling negative development to make prints, offline editing, conforming, scanning and recording, VFX, color grading at 2K on a big screen and finishing in all formats for TV and feature film: 35 mm, HD and DCPs. It boasts the most experienced colorists in the region, from film and digital. The Qube Cinema XP-D servers and QubeMaster Pro enable the creation of d-cinema distribution masters (DCDMs) and DCPs for Cinecolor's advertising and film work, following SMPTE guidelines.
"Most of our clients are making feature films and almost all of them are shooting digitally," said Lucas Guidalevich, operations manager at Cinecolor Argentina. "The digital workflow is new for many directors and producers and we take them through all the steps. We work with the production company to find the best way for finishing their content."
In addition to the studio in Argentina, Cinecolor has post houses in Brazil, Chile, Columbia and Mexico, all providing post services for the TV, advertising and film markets. There is a high level of cooperation between Cinecolor facilities.
"Cinecolor Brazil and Mexico have a similar infrastructure to ours," Zambrino explained. "We all have film labs of various sizes. Brazil and Mexico make prints of feature films for their internal markets. Though the number of digital cinemas is growing rapidly, there are still roughly 500 screens that have 35 mm projectors. This means that we all continue to do a lot of release printing jobs, which we export to different regions of Latin America. We make prints of Disney films here for Argentina and other countries in the region."
Satellite Transmission of DCPs and Live Content
Cinecolor Chile has a film lab as well as teleport for satellite transmission of digital content to the region. Operated as Cinecolor Sat, the satellite network is set up to distribute DCPs of feature films, trailers and ads directly to cinemas. There is a plan to install a fiber connection between Chile and Los Angeles, where most of the content originates. One decoder on the antenna is dedicated to transmitting DCPs. Another decoder enables distribution of live alternative content and ads to theaters. This should come in handy for the upcoming World Cup next year and the 2016 summer Olympics, both of which are being held in Brazil.
"Cinecolor Sat acts as a digital highway, transmitting content to the theaters connected to our network," said David Trejo, director at Cinecolor Brazil. "The network has the flexibility to distribute local content throughout the region in substantially shorter times than physical distribution. This will generate revolutionary changes in programming and content distribution."
For The Love of Film
Cinecolor Argentina started processing film more than 30 years ago and brought the first Telecine to Argentina in 1988. Even with the all-digital pipeline they've established, the creatives at Cinecolor continue to have a love of film. Cinecolor Argentina has a new department of digital restoration of older films, preserving the country's cultural heritage using optimal technology. For preserving footage for historical archiving they make a film copy, while the movies destined for commercial exhibition are packaged as DCPs.
Despite its release printing and historical archiving work, Cinecolor Argentina sees the writing on the wall for film. Only two movies out of about 80 that were produced in Argentina this year were shot on film. The company's postproduction and distribution work will increasingly involve an all-digital workflow.
"We're excited to be part of the growing market for digital cinema in Latin America," said Eric Bergez, director of sales and marketing at Qube Cinema. "We look forward to working with Cinecolor throughout the region."
The Qube XP-D and XP-I servers, and QubeMaster Pro are available from Qube Cinema and its worldwide network of resellers. For more information visit www.qubecinema.com .
About Qube Cinema, Inc.
Qube Cinema is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of India-based Real Image Media Technologies, Qube Cinema draws on decades of experience in media, cinema and entertainment. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with technologies that are innovative, flexible and cost-effective. Qube Cinema's product lines include the Qube XP series of digital cinema servers, Qube Xi 4K Integrated Media Block, QubeMaster software solutions, and Qube Keysmith KDM generation system. Qube Cinema, Inc. is based in Burbank, California. For more information, visit www.qubecinema.com
Basingstoke, December 3 2013-Sony Digital Cinema today unveils a compellingly-priced addition to its market-leading 4K digital projector family.
The new SRX-R510P brings a true Sony 4K experience to cost-conscious independent cinema owners and smaller theatres with screens up to 10m wide. Versatile and easy to maintain, the next-generation projector shares the same compact body, integrated media block and optical engine as the acclaimed SRX-R515P projector.
At the heart of the SRX-R510P is Sony's class-leading SXRD optical engine. Coupled with the projector's premium-quality wide aperture lens, this achieves an impressive 9,000 lumen brightness, together with a remarkable contrast ratio of over 4000:1 for sparkling highlights and deep blacks - far in excess of DCI* specifications.
It's illuminated by an array of four individually-replaceable HPM (High Pressure Mercury) lamps that provide ample light levels for smaller screens. Delivering remarkably consistent colour accuracy, this innovative multi-lamp array offers the additional benefits of fuss-free lamp replacement, low operating costs and a reduced risk of ‘dark screen' outages in the event of single lamp failure.
Like all other projectors in the Sony 4K line-up, the SRX-R510P can be adapted in minutes for smooth, immersive 3D presentation by adding an easy-to-fit optional dual lens and filter pack.
The projector's remarkably compact dimensions simplify installation in smaller booths where space is at a premium. Operation via the large 15-inch touch screen Graphical User Interface (GUI) is compatible with Sony's Theatre Management System that simplifies projector set-up, content management and creation of a complete show schedule. Remote operation is also supported via a networked PC and web browser.
Playback options are broadened further with two standard HDMI inputs that allow projection of alternative content such as live video or Blu-ray Disc.
"Detail matters for every patron, and Sony 4K makes perfect commercial sense for every size of screen," says David McIntosh, VP at Sony Digital Cinema Europe. "The extraordinary buzz that our groundbreaking SRX-515P has already generated in the market has made smaller theatres clamour for an economical 4K solution. The SRX-510P makes true 4K even more accessible - without compromising all-important picture quality that's made Sony Digital Cinema the world-leading 4K choice for exhibitors worldwide."
The SRX-R510P 4K digital cinema projector from Sony will be available in Europe from February 2014.
* Digital Cinema Initiatives, LLC (DCI) is a joint venture of Disney, Fox, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios. DCI's primary purpose is to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control.
ABOUT SONY DIGITAL CINEMA 4K
With over 15,000 systems in the market, Sony Digital Cinema 4K technology letsmoviegoers experience exceptional picture quality from every seat in the cinema - with spectacular detail, contrast and colouron any size of screen. Sony Digital Cinema 4K projection systemsgive audiences a more immersive, emotionally engaging visual experience you simply can't get at home - in 2D or with a choice of smooth, easy on the eye 3D solutions. Sony 4K offers four times the resolution of an HD TV or previous-generation 2K digital cinema.
It's captured the imagination of audiences and industry alike, winning Hollywood's commitment as underlined by 4K releases from studios such as Paramount, Warner Brothers, 20th Century Fox, and Sony Pictures. It has also won the support of Hollywood heavyweights like Christopher Nolan ("Dark Knight Rises", "Inception"), David Fincher ("The Girl with a Dragon Tattoo") and Harald Zwart ("Karate Kid"), who have all released recent blockbusters in the 4K format.
The only manufacturer currently deploying 4K projection systems in volume, Sony serves many of the world's biggest and most prestigious cinema chains, as well as small independent screens and art house cinemas.