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The Hobbit: An Unexpected Journey to receive the Dolby Atmos treatment
The CinemaCon crowd may not have been keen on 48fps footage of The Hobbit: An Unexpected Journey, but we defy anyone to say they don't want the best sound possible. A select few will get just that, as Dolby and Peter Jackson's own Park Road Post Production have announced the film will be mixed for the speaker-packed Atmos technology. If you're lucky enough to live near one of the select establishments it's installed in, we doubt you'll be grumbling about the immersive audio, even if the frame rate makes those orcs look unsettlingly real. Update: That link of "select establishments" is somewhat out of date and, although the official list of locations you'll be able to see The Hobbit in Atmos has yet to be released, Dolby says there should be between 80 and 100 screens capable of delivering the over-the-top audio experience by the film's debut.
MoviePass launches iPhone app and card combo, takes unlimited viewing to all US theaters
While MoviePass was in early beta, it got more than a small amount of pushback from theaters that didn't like someone changing the price formula without their explicit say-so. The company just found an end-run around that conspicuous obstacle. It's releasing both an iPhone app and a reloadable card that, when combined, let MoviePass' effectively unlimited subscription model work at just about any US theater. The app unlocks the card for a specific showing; after that, it's only a matter of swiping the plastic at a payment kiosk like any old credit card. It's not as sophisticated as NFC or Pay With Square, to be sure, but it should keep the rude surprises to a minimum. Both the iOS app and the card require an invitation to the $30 monthly service if you're eager to get watching movies today. If either is too limiting, there's promises of both an Android app and wider availability in the future.
4D technology coming to 200 US cinemas to help you feel and smell the action
Booming 64-track soundtrack at the cinema making you yawn? Already jaded about 4K , 3D and high frame-rates? If so, a company called CJ Group out of Korea may be able to blast you from your stupor -- it's bringing so-called 4D to nearly 200 theaters stateside. That extra 'D' won't let you warp spacetime, but instead will bring your other senses into play with seats that move and thump, smells from things like flowers or gunpowder, and artificial wind, rain and lightening. All that extra stimulation could bump the freight of a seat by around eight bucks, and movie house owners will need to shell out half of the $2 million cost to retrofit each salon. But CJ Group claims it's been hugely popular in markets like Asia and Mexico, so theaters there have quickly recouped the cost. Of course, you wouldn't want all that strang and durm on certain films, but lots of cinematic squealers could use a good dose of extra lipstick.
Dolby confirms 14 theaters for inaugural screening of Pixar's 'Brave' with Atmos audio
If you want to be among the first to experience Dolby's new Atmos surround sound experience, the company has released a list of 14 theaters that will have it up and running in time to show the first movie with the technology. Disney / Pixar's Brave hits the screens June 22nd and thanks to the Atmos setup is ready to direct sound to listener's ears from as many as 64 speaker feeds and 128 simultaneous inputs, combining with 3D visuals to increase viewer immersion. Not sold yet? Check out a few instructional videos about intelligent surround sound, and why 13.1 channels just wouldn't have been enough, plus of course, the list of all fourteen theaters.
Dolby reveals Atmos launch locations, invites you to come and 'see' the sound
Dolby's Atmos is being rolled out to a few selected locations to show off the groundbreaking new technology. It lets sound mixers project sounds over your head and around you with pinpoint accuracy -- kinda making you wish it'd kept the "surround-sound" name in reserve for it, really. After the break we've got the list of where it's making its debut, some of which are public, some of which are private -- we wouldn't suggest you try to break into the Skywalker ranch's screening room, for example.
Regal Entertainment Group teams up with Sony to bring subtitle glasses to US theaters
We've been hearing about glasses that only display subtitles to those who need them for years (most recently with a trial run in the UK), but it looks like they're now finally about to enter the US market in a fairly big way. Regal Entertainment Group announced today that it's partnered with Sony Entertainment to bring the company's Access Glasses to "practically all" of its digital theaters in the US (that includes the vast majority of its 500+ theaters and more than 4,700 screens in all). Those glasses work with both 2D and 3D movies (the latter courtesy of a clip-on filter), and can provide closed-captioned text in up to six different languages for the hearing impaired, as well as descriptive audio for the visually impaired when they're paired with headphones. According to Regal, the glasses are already rolling out to some theaters this month, and it says they should be everywhere by the first quarter of 2013.
Mike Daisey's "The Agony and the Ecstasy of Steve Jobs" available under an open license
Mike Daisey is making headlines with The Agony and The Ecstasy of Steve Jobs, a stirring monologue about his love of Apple and disappointment with working conditions in Apple's supplier factories. Daisey's monologue details his trip to China and his time with workers from Foxconn's Shenzhen plant. If you want to read the monologue yourself, you can now do so at Mike Daisey's website. The well-known storyteller released the text of his performance under an open license which lets you not only download the piece, but perform the work yourself. Daisey writes that his work "may be performed by anyone, anywhere, royalty free." The text is moving, but it doesn't compare to a live show which infuses energy and emotion into the words. Our own Mike Rose attended one of Daisey's performances, and you can read about his impressions in an earlier post. Now that the text is available to the public, I look forward to derivative works which capture a different aspect of this stirring account. [Via The Verge]
Mike Daisey's "The Agony and The Ecstasy of Steve Jobs" is funny, forceful agitprop (Update)
Update Mar 17 2012: This American Life, after additional reporting, retracted the episode featuring excerpts from Daisey's show. Some of the assertions Daisey made in his monologue, including a key passage about encountering workers injured by n-hexane exposure, are now acknowledged by Daisey to be the product of "dramatic license" rather than facts. Our review of the performance itself remains below, but readers are cautioned that Daisey's credibility as an observer of conditions in China is now in tatters. The final NYC performances of the show at the Public Theater, scheduled for this weekend, will proceed as planned, although an April performance in Chicago that was to be presented by TAL and WBEZ (the station that produces the show) has been cancelled. --- If you're looking for coverage of working conditions at Foxconn and other Apple manufacturing partners, there's plenty to go around. The drumbeat of sharply critical stories continued today with CNN's interview of a Foxconn worker; this follows a scathing New York Times story from late January that explores the gulf between electronics companies' best intentions regarding working conditions at contract facilities, and the incessant pressure to innovate and squeeze costs out of the process. Fairness, though, requires a few reminders. There's social and political argument over the ultimate value of sweatshop labor conditions in developing countries, with the pro-sweatshop side citing enormous economic benefits for countries that can capitalize on an inexpensive and inexhaustible labor force. Even if you buy the hypothesis that cheap labor isn't necessarily good for China, it's true that Apple isn't the only Foxconn client by a long shot, and the electronics manufacturing sector may actually be one of the brighter lights for worker's rights in China. Nevertheless, the company's high-profile and highly profitable products combined with its longstanding penchant for product secrecy have made it a lightning rod for "Applerousing" activism and anger. Apple CEO Tim Cook, the man most responsible for assembling Apple's supply chain into a strategic advantage for the company, reportedly sent a very strongly worded email to all Apple hands, noting that "any suggestion that we don't care [about the welfare of workers in our supply chain] is patently false and offensive to us.... accusations like these are contrary to our values. It's not who we are." In addition to the company's annual Supplier Responsibility Reports and auditing programs, Apple has recently taken another couple of steps that put it out in front of other consumer electronics firms; it released its supplier list for the first time, and it's the first sector company to join the Fair Labor Association. These changes should, in theory, make it easier for third parties to look into workplace issues within the Apple supplier universe. You can get a very different take on the relative impact of Apple's policies, and the human cost of making insanely great products for entirely sane prices, by spending an evening at the Public Theater in New York City with monologuist Mike Daisey watching The Agony and the Ecstasy of Steve Jobs. Be warned, however, that it is not so easy to leave the show with the same nonchalance about Apple's products and their origins as you might have when you arrive. The first thing that audience members will notice as they take their seats before the start of The Agony and the Ecstasy of Steve Jobs is the cubical and spare set. With rectangular frames in a back LED wall and a glass/chrome desk atop a glass platform, there's a definite echo of a familiar retail aesthetic; it's as if the designer was instructed "Make it look a little like an Apple Store, but don't spend much." The mood is also evoked, carefully, with sound. The music playing before the show includes both the OS X Leopard post-installation track "Exodus Honey" and Jonathan Coulton's geek anthem "Skullcrusher Mountain." Coulton's song even gets a nod during the monologue itself, when Daisey refers to Apple as a company full of "mad geniuses" who, after Steve's involuntary departure in the 1980s, could finally realize their plans to combine a monkey with a pony. The next thought, as the show begins: Mike Daisey is a large, loud, sweaty dude who sits in a chair and talks at you for two hours. Although this may sound like a rough session of detention with an angry phys-ed teacher, or an afternoon with your conspiracy theory-obsessed uncle, the performance Daisey delivers is heartfelt, intelligent and ultimately completely watchable. His show, which was excerpted on the January 6 episode of the public radio program This American Life [and subsequently retracted –Ed.], recounts both his decades-long fascination with Apple, including the unforgettable arc of the late co-founder Jobs, and also Daisey's half-cocked but surprisingly effective gonzo investigation of labor conditions at Foxconn and other electronics manufacturing contractors in the Chinese city of Shenzhen. Referring to his handwritten notes as he goes -- the performance is extemporaneous, so there is no canonical scripted text and the narrative has evolved over the 18 months that the show has been touring -- Daisey wants to make one thing abundantly clear. If you cut him, he would bleed six colors. To establish his bona fides as a true member of the Apple faithful for a civilian audience, he claims that sometimes after a show he relaxes by "field-stripping my MacBook Pro into its 43 component parts," cleaning each one before reassembling the laptop. "It soothes me," he purrs, stroking his chest with his fingers. While I don't know that many Mac geeks who relax by taking apart their MBPs, it's evident from Daisey's frequent, coherent technical asides that he isn't putting on airs (or Airs). His heartfelt memories of his family's first computer (an Apple IIc, considered so pricey that it merited its own "computer room") will resonate for plenty of TUAW readers of a certain age. I may have been the only audience member who involuntarily nodded and muttered "yes, of course" when Daisey shared his favorite Mac of all time, but that was only because his choice, the compact yet powerful (for its day) SE/30, was so obviously right. It's Daisey's love for all things Apple that makes his perception of the company's fall from grace all the more stinging. Starting with the inadvertent leak of several testing photos taken on the iPhone assembly line, Daisey's curiosity about the process and the people behind Apple's products drove him to research the circumstances of where all our stuff comes from. In 2010, Daisey traveled to southern China and literally drove up to the gates of the massive Foxconn plant in an effort to talk to production line workers; he was in country shortly after the cluster of Foxconn employee suicides and during the incident when a Foxconn employee died of exhaustion after a multi-day workshift. He posed as an American industrialist to gain access to other companies' facilities (including dormitories with beds crammed to the ceiling), and also met with labor rights activists and workers who, despite enormous legal and personal risks, have tried to form labor unions in Chinese factories. Daisey's recounting of his conversations with these workers is sometimes poignant and often shocking. He met laborers exposed to the neurotoxic solvent n-hexane (now banned from Apple's supply chain, but originally used as an iPhone screen cleaner) who now shake so badly they cannot hold a teacup. He spoke with underage workers outside the plant gates, although follow-up investigations by This American Life indicated that the hiring of minors is far less prevalent than it once was and that Foxconn is relatively well-positioned on that score (some independent organizations dispute this, noting that audits are easy to deceive). Daisey's own translator wonders if all these people can possibly have been through what they say, expressing shock that so many tell the same stories of mistreatment, forced/unpaid overtime and bad working conditions. As Daisey has performed this piece around the country over the past two years, he might have been considered a lonely voice in the wilderness. (TUAW interviewed Daisey at Macworld Expo 2011, while he was performing the show in Berkeley, CA.) Circumstances have changed quite a bit since he began, however. The radio broadcast was a turning point in the show's reception, according to a flyer handed out by ushers after the performance; it was the most downloaded episode in TAL's history and, Daisey's flyer claims, was heard by many Apple employees and their families. This created what Daisey's sources call "a morale situation" within the company, and he asserts that this internal circumstance was a factor in Apple's subsequent decision to join the FLA and open its supply chain to additional scrutiny. It may not be as simple as Daisey wishes for Apple to effectively address the condition of a massive Chinese labor force that, in the final analysis, does not actually work for the Cupertino company. His suggestion of a 'dividend for change,' where Apple would directly invest five billion dollars of its cash reserves into the supply chain, would certainly be worthy of a company founded by a Zen-loving college dropout who urged customers to think different -- but it's surpassingly unlikely. Still, public awareness and action on the question of humane labor overseas (whether contracted by Apple, HP, Asus, Sony or any other company) will make a difference in the months and years to come. As Daisey says in his online response to Apple's recent moves toward further supply chain glasnost: If Apple would spend less energy finessing its public image, and instead apply its efforts to real transparency and accountability, it could be a true leader for the electronics industry. Apple today is still saying what it said yesterday: trust us, we know best, there's nothing to worry about. They have not earned the trust they are asking for." Mike Daisey's monologue The Agony and The Ecstasy of Steve Jobs continues through March 4, 2012 at New York City's Public Theater. The show runs approximately two hours and is performed without an intermission. Tickets and information: http://www.publictheater.org
Olive: the first feature film 'intentionally' shot on a smartphone (video)
Sure, your smartphone might shoot HD, you might even have a dolly, but most of us know that 30 seconds of accidental filming inside a pocket and a blurry clip from the office party are about the best we can hope for. Not director Hooman Khalili. He made a feature length film using his trusty Nokia N8 and a custom lens, and now plans to show it in movie theaters. The film, called Olive, tells the story of a mute little girl, and the impact she has on the lives of those who meet her. Partly financed by the former Facebook CPO Chris Kelly, this Kickstarter story has the making of a movie itself. Should it raise the required $300k in funding, Khalili hopes it might even get a sniff by the Academy. That's assuming, of course, they've had a recent change of policy. For a sneak peak and a look at the making of, check the video after the break.
Hack your monitor and 3D glasses, ensure ultimate privacy
You've always wanted a bit more privacy with your monitor (porn jokes notwithstanding) and if you're willing to tear apart a spare LCD monitor and a pair of 3D theater glasses (thanks, Dreamworks and Pixar!), you'll get it. In lieu of a thicker tinfoil hat, Instructables' dimovi suggests removing the LCD's frame, cutting out its polarized film with a utility knife before removing the screen's film adhesive with a combination of cleaner and paint thinner and reassembling the monitor. Once complete, grab the glasses, cut out the lenses and combine them with the plastic film removed from the monitor before inserting them back into their frames. The result is an LCD monitor that displays a white screen to anyone not wearing the customized glasses, your actions being confidential, no matter what they might happen to be. Check the how-to video embedded after the break, or hit the source link for full instructions
Eddie Murphy's Tower Heist gets fast-tracked to Comcast VOD, $60 saves a trip to the theater
Perhaps you're not a fan of sticky floors, armrest sharing or simply other people. Well, crowd-averse Comcast subscribers at least will have the chance to watch one Hollywood release from the comfort of their home while it's still in theaters. According to The LA Times, Eddie Murphy's Tower Heist will be out to view on-demand a mere three weeks after its November 4th release. It's not the first time we've seen premium advance video-on-demand, the main difference being, at $60, Comcast's experiment looks to be double the price for half the wait. Now if we could just afford that 155-inch screen...
MoviePass gets kicked out of theaters before it can get a ticket
Here's a bad idea: announce a beta run for your discount subscription movie ticket service, but neglect to inform the 21 San Francisco-based theaters listed that they're part of the fun. That's essentially what Landmark, AMC, Camera Cinemas, and Big Cinemas are claiming MoviePass did earlier this week, and boy has the corn begun to pop. According to The Wrap and Variety, the chains weren't pleased to find out that MP had worked with mutual partner MovieTickets.com to set admission prices without their consent; the intriguing tidbit here is that despite the low cost for consumers, the theaters would still be paid full admission. MoviePass had been hoping to gain more support with the test phase, but it looks like that'll be on pause for a good while. No word on whether the beta will see a rescheduling, but you'll find the full details in the links below, and a PR rebuttal from AMC past the break.
MoviePass wants to be Netflix, but for theaters
Here's a scenario: you'd love to see the latest blockbuster, but aren't willing to fork out a month's wages to do so. Cue MoviePass, a startup seeking to make life cheaper (fiscally, not emotionally) for repeat cinema moviegoers. The $50 subscription allows for "unlimited" cinema screenings, provided you're okay with a few caveats: 3D or IMAX screenings incur a $3 surcharge, and you'll be limited to one flick per day. Tickets must also be purchased on a partner website, netting you a coupon code that's exchanged for stubs in-theater. Not the most elegant solution, but the reliance on paper prevents folks from re-watching or double-dipping while inside. If that sounds just a bit too jovial for you, the company's also considering a chopped-down $30 plan, which would impose a four movie limit each month. It's launching as a trial this weekend in San Francisco, so if you've nothing better to do, give it a go and let us know how it works out.
'Game Play' theater festival combines gaming and performance art
Brooklyn-area nerds are about to receive a special gift from the cultured world of indie theater. For the majority of July, The Brick Theater will play host to "Game Play," a theater festival comprised of gaming-oriented stage productions, musical performances and interactive performance art, among other things. The schedule is pretty wild and ranges from what you'd expect (chiptune dance parties), to what you wouldn't (nerd-culture burlesque shows.) For instance: Romeoo and Julietet, a modern interpretation of Shakespeare's classic, will be performed entirely within World of Warcraft, while Modal Kombat uses real-ass guitars to control Mortal Kombat characters, as seen after the break. The venue has even turned one event, their Rock Band Karaoke Night, into a fundraiser for Child's Play, granting free admission to anyone with a Child's Play donation receipt. The festival runs from July 7 through the 31, and tickets are available now. Hit the source link to check out the full schedule, but be careful: there are some seriously-almost-entirely-nude naked people on this website. You have been warned!
Rock out in the iPad concert theater
Gary Katz has a talent for making things out of shoe boxes. We told you about his miniature iPhone movie theater back in February, but now he's moved onto bigger and better things. Using a shoe box, some concert photographs he found using Google Images, and glue, Katz has created an iPad concert theater. The theater even features moving audience members. I'm going to let the video below speak for itself. If, after watching it, you want to create your own iPad theater but don't have the craft skills, Katz sells personal theater kits for only US$9.99.
The Lion King officially comes to Blu-ray, Blu-ray 3D October 4th after a short 3D-only theater run
Disney has officially announced release details for The Lion King in high definition, the three different boxed sets that were available for preorders last month will all come home starting October 4th. There's still no specific information on extras but the 8-, 4- or 2-disc set improved picture and sound, interactive features and a new set of blooper reels among the bonus features. Beyond the Blu-ray, The Lion King is first returning to theaters, with a two-week 3D-only engagement that kicks off September 16th so audiences can get a peek at the new conversion, and for those not into HD, the DVD will arrive November 15th. There's also an updated trailer for the set, check it out along with the press release after the break.
Movie theaters could screw up your 2D movies by leaving the digital projector set up for 3D
We generally prefer to do our movie viewing in our own home theaters, but when we succumb to the temptation of public moviehouses we often choose digital projection hoping for a flawless viewing experience. Unfortunately, this report by The Boston Globe indicates that may not be the case. It is alleged by unnamed theater employees that theaters are leaving the 3D lens adapters on their Sony 4K digital projectors even when showing 2D. Just like viewing 3D, this cuts the light output and it's worse for 2D films not made with that in mind, but theaters do it because removing the lenses is overly complex and many moviegoers don't seem to notice or complain. The Globe suggests checking the digital projector yourself -- if you see two beams of light from on high at a 2D flick then something is rotten in Denmark. Check the article at the source link for a rundown of many of the chains using these types of projectors and why that's the case (money), but after this and Liemax premium VOD is starting to sound better and better.
Chicago's Adler Planetarium to start projecting 8K by 8K images from this July, put cinema screens to shame
Okay, so it's not quite 8K video, we're not there yet, but the Adler Planetarium and its brand new Grainger Sky Theater are about to show us what 64 megapixel images look like on a big screen. Described as the "largest single seamless digital image in the world," the picture inside the planetarium will come from 20 projectors hooked up to 45 computers processing data, and should provide the most lucid and captivating view unto our universe that one can get without actually exiting the Earth's atmosphere. The new show kicks off on July 8th, having been put together with aid from NASA and IBM among others. Jump past the break for the full press release.
Theater owners ready to fight over $30, 60-day window VOD movies
While we're not exactly in a hurry to spend $30 each on 60-day delayed movie rentals, theater owners are quite upset by the whole premium video-on-demand plan apparently being pushed by Warner, Sony, Fox and Universal. The most active objector so far appears to be AMC Theaters, which announced yesterday (press release after the break) it would notify studios that it plans to "adapt its economic model" regarding movies bound for p-VOD. What it wants is likely a bigger slice of the revenue and also a heads up on which movies will be getting the earlier releases. Rival theater chains Regal and Cinemark have already expressed plans to cut promotion and screens for movies headed to p-VOD, but without any official announcement it's still not clear which movies those will be. Of course, cutting down promo and screens cuts into the theater's own revenue, so we'll wait to see who blinks first. (Hint: it won't be us -- we wouldn't pay $30 to watch The Adjustment Bureau on Mars, much less in our own living rooms on DirecTV, Vudu or Comcast.)
James Cameron ponders 48 or 60fps shooting of future Avatar films, because he's trendy like that
Oh, Jameson. You trendy, trendy trendsetter. After coercing the entire world of cinema to bow down and worship the art of 3D, it looks as if James Cameron will soon be spearheading the effort to back away from the tried-and-true 24fps shooting method in favor of far faster options. The Hollywood Reporter is claiming that Cameron copped to the idea of shooting Avatar 2 and 3 at higher frame rates, likely 48fps or 60fps. The reason? It'll provide an "added sense of reality," and it'll probably create a wave of new camcorders, software and plug-ins to handle the dirty work. Onward and upward, we suppose.
