qubecinemas.pngNew System Multicasts DCPs Securely by Satellite and Broadband - See it at NAB

Qube Cinema has released QubeCast, a new multicast server providing efficient digital cinema package (DCP) distribution over satellite and broadband networks. QubeCast is designed primarily for wide distribution of films to theaters, including exhibitors in remote locations or without reliable high-speed data connections.

QubeCast relies on the innovative Qualcomm® RaptorQTM Forward Error Correction (FEC) technology from Qualcomm Technologies, Inc., a wholly-owned subsidiary of Qualcomm Incorporated, to rapidly distribute films via satellite, even when there is no return data channel. The technology gives cinema networks an efficient and reliable alternative for DCP distribution and status monitoring.

With QubeCast, exhibitors worldwide can receive DCPs from studios via satellite upload. Its web-based user interface (UI) allows secure transmissions to be initiated remotely and provides theater managers with the overall status as well as a per-client status for each transmission. Qualcomm RaptorQ FEC technology ensures accurate delivery to multiple screens simultaneously with either one-way or two-way return channels. Use of the return path allows client servers to report on the status of a transmission, but because FEC is applied to the signal prior to transmission, QubeCast can correct data loss even on one-way multicast links.

"With Qualcomm RaptorQ technology, QubeCast can scale DCP delivery to hundreds or thousands of screens by overcoming the problems of data loss and latency," said Michael Luby, VP of Technology at Qualcomm Technologies, Inc. "The Qualcomm RaptorQ technology is a great example of the compelling technologies Qualcomm is driving to help address network bandwidth and meet the 1000x data challenge, and we look forward to continuing to collaborate with Qube Cinema to enable their multicasting server to be used by more segments."

On a large scale, sending DCPs via satellite or broadband networks is more efficient than using conventional IP-based tech like file transfer protocol. QubeCast tracks every file going to every screen at every site and displays this in its status UI. It also tracks when the file has been ingested into the server. Each of these stages can be monitored from a central web-based control panel. Qualcomm RaptorQ protects against the loss of data, while minimizing the amount of additional data that needs to be sent.

"Multicasting through one-way channels eliminates the need for a lot of feedback from client servers about the data they receive," said Senthil Kumar, co-founder of Qube Cinema. "This reduces costs and allows transmission to a large number of theatres simultaneously. In fact, QubeCast is already deployed on Qube Cinema's network of over 1,600 cinemas throughout India, many in remote locations with no Internet connection."

QubeCast is available now in two options. The 1RU mounted device functions with all theatre management systems to serve any number of screens at a site. Alternatively, QubeCast software can reside directly on the group server at a theatre chain, reducing hardware requirements. Either way, QubeCast uses very little computer resources and runs in the background, even while a D-Cinema server is performing its primary function: playing the DCP.

NAB attendees can see QubeCast first-hand at the Qube Cinema booth SL7426. To learn more about QubeCast visithttp://qubecinema.com/products/QubeCast or contact Eric Bergez at sales@qubecinema.com or 818-392-8155 to schedule an appointment during the show.

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.


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20thcenturyfox.pngLos Angeles -- 20th Century Fox Film has partnered with Social Rewards, the social loyalty engagement platform, to create the all new Fox Rewards Program (www.FoxRewards.com) set to launch during the CinemaCon Theatre Exhibition Conference in Las Vegas this week. Social Rewards was founded in 2010 to help companies in the entertainment industry harness the power of social media and drive measurable sales and big data through a loyalty program that can stand alone or work in tandem with current programs.

Since November 2013, Social Rewards has created a new distribution channel for movie trailers by partnering with 15 initial movie exhibition circuits including Marcus Theatres, Cobb Theatres, Frank Theatres, Goodrich Quality Theatres, Starplex Cinemas, Premiere Cinema Corporation, Digiplex Destinations, Galaxy Theatres, Dipson Theatres, Tristone Cinemas and others across 4,000 screens. The movie theater chain's moviegoer base joins a branded Social Rewards program culled from onscreen promotion, traditional theater loyalty programs and social media engagement. Moviegoers are rewarded for specific activity, including watching movie trailers for theater loyalty points.

Social Rewards created a branded 20th Century Fox Film program that features a loyalty program for each individual movie release. Points are rewarded to all moviegoers and fans that watch and share movie trailers across social media networks such as YouTube, Facebook, Twitter and Instagram. Points accumulated on the Fox Rewards program are currently redeemable for free movie tickets and concession items at any participating movie theater.

Cross promotion of theater programs and movie studio content and discovery through these programs are what makes this such an integral platform where everyone is engaged and rewarded - studio, movie theaters and moviegoers.

For more information, please visit http://socialrewards.com/Contact/

About 20th Century Fox Film:

One of the world's largest producers and distributors of motion pictures, 20th Century Fox Film produces, acquires and distributes motion pictures throughout the world. These motion pictures are produced or acquired by the following units: Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Fox International Productions and Twentieth Century Fox Animation.

About Social Rewards:

Social Rewards (www.socialrewards.com) is a social loyalty engagement platform providing movie studios and theater circuits with a platform for targeted movie trailer marketing where moviegoers earn theater loyalty points for Social Media engagement towards theater rewards. This unique approach brings movie studios and exhibitors together to utilize social media for extended reach, movie cross promotion and discovery.

With successful client programs at brands such as Caesars Entertainment and ANA (All Nippon Airways) already well established, Social Rewards turned their sites to the movie industry as a platform that targets movie trailer marketing, a $4BB industry.

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By Daniel Loria

Christopher Nolan took some time off from supervising the editing of Interstellar to join a lunchtime conversation moderated by The Hollywood Reporter's Chief Film Critic Todd McCarthy in front of CinemaCon attendees at Caesars Palace.

Nolan remained tight-lipped on details about Interstellar two days after Paramount's presentation at CinemaCon failed to reveal any new information on the project. The most telling detail he gave away about the plot is already available on the film's IMDB page, "It's about interstellar travel."

The few details the filmmaker did spare suggest that audiences are in store for a visual feast this fall. Nolan's last films have been released over the summer, but Interstellar will be premiering in November in order to accomodate the film's special effects.

"We shot quite a lot of film on IMAX, more than we have ever done in the past," shared the director. "What we're trying to do is give audiences an incredible experience, an immersive experience."

"On this film, the technical aspects of how the film is presented are more important than on any other film I've ever done."

The conversation with Christopher Nolan touched upon several other topics. Here are the highlights from the conversation:

On music:

Nolan shared his distate for using temp scores when editing his films, prefering a more organic process with composer and long time collaborator Hans Zimmer. The composer begins his involvement with Nolan's films at the script-stage, receiving a copy of the screenplay to base his score rather than working off an early cut of the film.

On Interstellar star Matthew McConaughey:

Nolan first became interested in working with McConaughey after seeing his potential in Mud, "[The film] showed me a side of Matthew's capabilities that I didn't know were there."

The director has been able to work with some of the most compelling male stars of this generation, including Christian Bale and Leonardo Di Caprio. Nolan considers himself very lucky to have been able to work with such strong actors. "The odds that someone I've worked with will win [an Oscar] are pretty good, about three-out-of-five," he joked.

On technology:

Nolan didn't shy away from remaining a staunch supporter of 35mm, even when speaking to a room full of exhibitors and technology providers. "Film is the best way to capture an image," insisted the filmmaker.

"There are realities people aren't willing to accept in the drive to make things cheaper," he later added.

Despite his commitment with 35mm, Nolan emphasized that innovation remains central to the cinema-going experience. If Nolan is hesitant to go digital, it is only because he's asking for better quality from the images -a mission at the heart of every technology company in today's market.

The director has also avoided working in 3D, albeit for slightly different reasons. Nolan doesn't view 3D as the best format for a shared audience experience. He did, however, mention The Great Gatsby as a film that he believes succeeded on 3D. "My resistance of 3D is mostly based on what's right for the films that I'm trying to make," explained Nolan.

On influences:

Nolan cites watching the original release of Star Wars as a kid as a big influence on his focus on visual spectacle. He also brought up the influence of Stanley Kubrick's 2001: A Space Odyssey after seeing it on the big screen during the film's theatrical re-release.

 On working with his brother, screenwriter Jonathan Nolan:

The siblings take different approaches to collaborating on every project. Christopher adaptated Jonathan's short story for Memento himself into a screenplay. Jonathan adapted the source novel for The Prestige over a span of three to four years. The Batman trilogy brought a more collaborative process, where the brothers would bounce drafts back and forth between each other. Interstellar is a film that Jonathan had been working on for some time before Christopher joined the project.

On sequels:

Nolan doesn't have any other film ideas floating around in his head as he is working on a project. The director instead prefers to focus completely on the task at hand, a work ethic that was present during the production of Batman Begins. Nolan tackles each of his current films as the last film he'll ever do, "It's a bit like eating a fantastic dinner and someone asking you what you want for breakfast in the morning."

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By Daniel Garris

Lionsgate's Divergent took in $4.198 million on Tuesday to lead the daily box office with ease for a fifth consecutive day. The highly anticipated young adult adaptation starring Shailene Woodley was up 17 percent from Monday. Divergent surpassed the $60 million mark yesterday and has grossed a very solid $62.38 million through five days of release. Divergent is currently running 22 percent behind the $80.17 million five-day start of 2008's Twilight and 101 percent ahead of the $30.99 million five-day take of last year's Ender's Game.

Muppets Most Wanted held steady in second with $1.42 million. The latest Muppets film from Disney was up 23 percent over Monday's performance. Muppets Most Wanted has grossed an underwhelming $19.58 million in five days and is set to clear the $20 million mark today. The film is currently running a discouraging 53 percent behind the $41.52 million five-day start of 2011's The Muppets (which did have the advantage of opening the Wednesday before Thanksgiving).

Mr. Peabody & Sherman grossed $1.24 million to remain in third place. The 3D computer animated film form Fox and DreamWorks Animation increased a strong 29 percent over Monday and was down just 22 percent from last Tuesday. That hold strongly suggests that Mr. Peabody & Sherman will re-stabilize over the upcoming weekend. The 19-day total for Mr. Peabody & Sherman stands at a respectable $83.34 million.

God's Not Dead took in $1.00 million to continue to claim fourth. The faith-based drama from Freestyle and Pure Flix was up 17 percent over Monday and generated a healthy per-location average of $1,285 for the day. God's Not Dead has grossed a stronger than anticipated $11.10 million in five days. That places the film 8 percent ahead of the $10.26 million five-day start of 2011's Courageous. God's Not Dead is currently scheduled to play in 1,164 locations this coming weekend.

Warner's 300: Rise of an Empire and Disney's Need for Speed claimed fifth and sixth place respectively with $0.971 million and $0.899 million. 300: Rise of an Empire increased 17 percent over Monday, while Need for Speed was up 34 percent. Respective total grosses to date for the action films stand at a very solid $95.39 million in 19 days for 300: Rise of an Empire and at a lackluster $32.13 million for Need for Speed in twelve days.

Fox Searchlight's The Grand Budapest Hotel continued its impressive run in limited release with a seventh place take of $0.724 million. The Wes Anderson directed film was up 15 percent over Mondy and claimed a strong per-location average of $2,383 for the day. The Grand Budapest Hotel has grossed $14.35 million in 19 days of release and is set to expand into additional locations this Friday.

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