‘WE’RE SEEING THE SHIFT AWAY FROM NORTH AMERICA. THERE ARE NOW MORE DIGITAL SCREENS IN THE INTERNATIONAL MARKET THAN IN NORTH AMERICA’ DISTRIBUTION AND EXHIBITION p20
POST OVERVIEW: FRANCE Strong in animation, French post houses with 3D capabilities anticipate a busy 2011
The success of Despicable Me has underlined France’s strength as a territory to make ambitious projects. While 3D features remain thin on the ground, French shops are gearing up for more work. The Quinta Group is aiming “to be a
European leader in 3D feature fi lm post”, asserts business development director Mathias Forget, and has invested in equipment and personnel. From its digital lab Scanlab, grading outfi t Duboicolor and FX brand Duran Duboi, it can call on Codex recorders for digital dailies, Nucoda Film Master for 3D grading and a RealD-equipped screening room. The group composited CG characters
into live-action backgrounds for Les Krostons, a teaser for a potential feature- length comic-book adaptation, and is working on Sombrero Films’ Behind The Walls (Derriere Les Murs), claimed as
the fi rst French-language 3D fi lm. Both projects were fruits of a wider alliance with French 3D rig designer Binocle and camera-rental fi rm Panavision Alga. Duran Duboi meanwhile is animating
EuropaCorp’s The Boy With The Cuckoo Clock Heart (La Mécanique Du Coeur), scheduled for 2012. “We anticipate many more French 3D stereo features, either animated or live action,” says Forget. “And in the coming year, we may handle global 3D post for four or fi ve features.” Julien Meesters, creative director of
Mikros Image, says his facility spent two years gearing up for the 3D work it expects in 2011. “We’ve trained a department of VFX artists and on-set supervisors,” he says. Yet to post any live-action 3D, Mikros “is in the process of showing clients what we can do”. That includes devising bespoke conversion tools and conducting
»
Illumination’s Despicable Me was made at Paris-based Mac Guff
tests for a French studio considering a dimensionalisation of its library. For the animation of Despicable Me,
Illumination Entertainment producer Janet Healy “scoured the globe” before selecting Paris-based Mac Guff. Stereo sequences were sent for review over the internet to Illumination in Los Angeles. “Three years ago this was a creative
decision based on the quality of work Mac Guff produced,” says Healy. “The recent French tax rebates [introduced in 2009] have incentivised us to put more work through the studio.” Illumination’s 3D animated feature
The Lorax is currently in production at Mac Guff, along with two locally produced animated features.
ARTS ALLIANCE MEDIA: FOR ALL YOUR 3D FEATURE & TRAILER NEEDS
3D DIGITAL CINEMA PACKAGE (DCP) CREATION 3D encoding (ghost-busted and non-ghost-busted) 3D subtitle rendering We can originate your subtitles, or receive existing ones Full QC of 3D subtitles All QCs can take place in London or Paris Worldwide reversioning of DCPs
WORLDWIDE DISTRIBUTION Distribution of features, trailers and advertising worldwide, either on physical media, or via secure satellite Full KDM (encryption key) management Online DCP booking and KDM service AAM’s database holds all European Digital Cinema 3D screen information
Fast turnaround Sales representatives in the UK, France, Spain, Germany, Italy & Norway
To book in your content, or to find out more, please contact
Victoria Galloway (London) Content & Distributor Services Director
Victoria.galloway@
artsalliancemedia.com +44 (0)20 7751 7513
Isabelle Nerin (Paris) Directrice commercial, Cinéma Numérique
Isabelle.nerin@
artsalliancemedia.com +33 6 80 11 02 97
For full international contact details, see
www.artsalliancemedia.com
» European 3D special 2010 Screen International 15 n
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28