CYPRESS, Calif. -- Light Iron, a leading postproduction house based in Los Angeles, has expanded its use of Christie Solaria® Series digital cinema projectors offering rich, saturated color, high brightness and sharp, 4K resolution to its ever growing clientele.
"We've used other manufacturer's 4K projectors when 4K projectors first hit the streets, but the fact to the matter is it's more important to be the best at something than the first. And the best 4K solution is exactly what Christie brings to the market. With its reliable and proven name, it was an easy decision to make Christie the standard for our screening rooms in both Los Angeles and New York City, with Christie Solaria 2K and 4K projectors in operation at both locations, including a Christie Solaria CP4230, which will be highlighted at the official unveiling of our new facility in New York City tonight," said Michael Cioni, CEO, Light Iron.
"Christie's all-in-one design allows us to view 4K content without an external cinema server. This allows us to stream uncompressed 4K content from our DI color systems directly to Christie projectors in our LA and New York facilities. This makes the integration of 4K into our technical pipeline nearly identical to our 2K pipeline, and that's one of the reasons it's the best projection solution on the market," added Cioni.
Christie DLP Cinema® Projectors a Hit with Postproduction Houses
"Our product flexibility is gaining us a lot of converts in the postproduction space. One of our key differentiators here is that the user doesn't have to swap input cards when switching between uncompressed and packaged cinema content, as two slots are standard on the Solaria 4K projectors," said Don Shaw, senior director, Product Management with Christie's Entertainment Solutions group. "And as one of these connections is a professional-grade quad 3G-SDI connect, Christie can ensure that post facilities have a robust and convenient digital interface for flawless viewing of 4K digital cinema or alternative content."
After four years in Los Angeles, Light Iron has expanded into New York to help serve the postproduction community there. A pioneer in 4K postproduction projection, Light Iron hopes to demonstrate to the NYC cinema and postproduction community the solid workflows that 4K enables and how easy, cost-effective and quick it is to implement a 4K workflow as an alternative to 2K workflows, which don't facilitate 4K digital content as well. Light Iron's New York screening room has a 35-foot throw and a Microperf screen 16 feet wide by 9 feet. The 4K content is played out of a Quantel Pablo Rio with AJA Corvid Ultra video card, while 4K content is fed via 4 by 3G-SDI. The facility at 580 Broadway will be unveiled to a broad cross-section of the industry at its grand opening tonight.
"Ours is the only post facility designed for 4K from the ground up. While working with 4K files is becoming common, viewing pixel-for-pixel results is not. The Christie CP4230 expands Light Iron's creative freedom by enabling real-time 4K monitoring in a calibrated DCI space. Since that's where the cinema is headed, that's where Light Iron needs to be. There's really no one else on either coast that feels as strongly about this as we do," said Cioni.
NORTHRIDGE, California -- HARMAN's JBL Professional today announced that it is the Official Speaker Provider for The American Pavilion at the 66th Cannes Film Festival, which takes place May 15-26 in Cannes, France. The American Pavilion is the center of activity at the Cannes International Film Festival for the American film community, offering membership for professionals, provocative and insightful programming, immersive student programs, the Emerging Filmmaker Showcase and more.
JBL is providing four CBT 70J-1 column loudspeakers for The American Pavilion, which is located within the International Village. Because of the CBT 70J-1's studio-grade drivers and JBL's exclusive CBT pattern control, the loudspeakers provide the American Pavilion with superb sonic fidelity and even coverage throughout the space. The system includes four JBL CBT 70J-1 column loudspeakers instead of the 20 distributed loudspeakers that had previously been considered.
The CBT's "Asymmetrical Progressive Gradient Coverage" sends more sound to the far area of the listening space than to the close areas. This allows sufficient sound to reach the far listeners without overwhelming listeners that are positioned closer to the loudspeakers.
The very wide 150-degree horizontal coverage allows more area in the pavilion to be covered from fewer loudspeaker locations and to ensure that off-axis listeners still hear the same quality of sound as on-axis listeners. Two of the speakers are located at the edge of the tent area, allowing them to also cover the listeners on the deck, who were not covered in previous years. In addition, the low-profile design of the CBT Series provides the pavilion with world-class sound while maintaining a visually discreet appearance.
With the ability to cover the area with fewer speakers, the entire system is driven from a single powered mixer, as opposed to the complexity of a rack system. With the power available from the existing powered mixer, each speaker is powered with 125 Watts.
"We are honored to be named as the Official Speaker Provider for The American Pavilion at Cannes," said Brian Divine, Director of Marketing, JBL Professional. "JBL has a storied history in cinema, and this year attendees at The American Pavilion can look forward to enjoying the powerful, immersive and nuanced sound that JBL is known for."
"We are thrilled to have the cutting-edge technology that JBL Professional brings to the table, which will give our members a sound experience beyond compare for all our programming this year," said Julie Sisk, Founder of The American Pavilion at Cannes.
Iron Man 3 has been bulldozing its way to a $1 billion global total. Last weekend's overseas numbers saw the superhero film triumph in multiple overseas markets, but competition from the scaled roll-out of Star Trek Into Darkness slowed down Iron Man's hot streak.
The $31.7 million that Star Trek Into Darkness grossed over the weekend came in large part due to a splendid performance in the United Kingdom. The sci-fi sequel had a harder time finding its footing in Mexico, where it underwhelmed in second place. Paramount's release strategy will unfold as the summer wears on, with Star Trek Into Darkness expanding on a global scale through August.
Top Ten Lists From the Major Global Markets:
AUSTRALIA: 'Star Trek Into Darkness' Conquers Australia
BRAZIL: ‘Iron Man 3' Is #1 For Third Consecutive Weekend
CHINA: 'Iron Man 3' Excels, 'Oblivion' Survives, 'Django Unchained' Flops
FRANCE: 'Iron Man 3' And 'Les Profs' Lead Another Healthy Weekend
GERMANY: 'Star Trek Into Darkness' Edges Out 'Iron Man 3' For #1
ITALY: 'Iron Man 3' Stays On First, 'Evil Dead' Shows Promise
JAPAN: No New Releases Stall The Box Office
MEXICO: 'Star Trek: Into Darkness’ Disappoints In Debut
RUSSIA: 'Iron Man 3' Eyes $40M In Russia
SPAIN: 'Iron Man 3' Breaks $10M Mark
U.K.: 'Star Trek: Into Darkness' Takes The U.K. With $12.9M
