By MCN Editor editor@moviecitynews.com

Dolby Delivers Premium Digital Cinema Experience to the 2011 Toronto International Film Festival

Dolby’s Content Services team delivers its most comprehensive set of technologies to help filmmakers share their artistic visions

San Francisco, September 7, 2011—Dolby Laboratories, Inc. (NYSE: DLB), announced today that it will provide a suite of Dolby technologies and services to the Toronto International Film Festival® (TIFF) to deliver a premium digital experience for filmmakers and festival attendees. The festival, held September 8 to 18, 2011, will feature Dolby technologies, including Dolby® Digital Cinema, Dolby 3D, the Dolby Professional Reference Monitor, and Dolby surround sound solutions, among other encoding and decoding solutions.

“As we continue our work to put filmmaking and the Toronto International Film Festival on a global stage, Dolby is a key ingredient and partner to ensure we do that at the highest levels,” said Andrei Gravelle, Technical Manager, TIFF. “While Dolby has been the recognized standard bearer for cinema audio, now they are proving themselves to be a force for the visual image too. The festival’s transition to Digital Cinema has been a learning curve, and the Dolby engineers that work with us have been an invaluable mentor and source of advice.”

The state-of-the-art TIFF Bell Lightbox, equipped with Dolby 3D and Dolby Surround 7.1 capabilities, will host a number of official festival selections. 3D titles include The Flying Machine, A Monster in Paris, Pina, Twixt, and the National Film Board production of ORA. As part of Short Cuts Canada programme 6, ORA will be presented in Dolby Surround 7.1, as will the world premiere of Samsara, from Magidson Films, Inc.

“This year’s Toronto International Film Festival brings together some of the best Dolby technologies and services available to deliver a digital experience that audiences will remember long after they leave,” said Bill Allen, Senior Director, Content Services, Dolby Laboratories. “The team at TIFF continues to push the boundaries for imaging and sound quality, making the festival one of the truly premier industry events.  It continues to be an influential event for filmmakers to share their artistic visions, and Dolby is proud to be a part of it.”

Dolby has worked closely with TIFF over the past two decades. This year will feature Dolby Digital Cinema servers and audio processors within every Premiere festival venue. Beyond providing technical support, Dolby Content Services mastered films, high-definition videotapes, and digital cinema packages (DCPs) that will play at the festival. Dolby E decoding solutions will also provide emerging filmmakers the flexibility to showcase their 5.1-channel mixes before engaging in the complex film postproduction process.

New to the festival’s digital technology repertoire is the Dolby Professional Reference Monitor. A precise color grading display device, the Dolby Professional Reference Monitor will be used to provide quality control in the festival’s inspection facility.

To ensure that audiences experience the highest-quality presentations possible, Dolby engineers will be on-site to prepare all venues to meet Dolby standards and to support filmmakers so they can accurately share their creative vision, whether they use film or digital cinema, in 2D or 3D.

Prior to the start of the festival, Dolby will also host SURROUNDED @ toronto, with a panel discussion called “Innovations Altering the Entertainment Landscape,” to be held in the TIFF Bell Lightbox on September 7, from 8:00 to 9:00 p.m. Moderated by Steve Pond, this panel will focus on cutting-edge imaging tools and the emotional impact of surround sound. Industry leaders will share insights on how new content creation tools and playback solutions are impacting the entertainment experience. For real-time updates on the panel, follow twitter.com/dolby#surrounded.

About Dolby 3D and Dolby Surround 7.1

Dolby 3D technology provides an efficient and flexible solution designed to deliver a superior 3D experience to every seat in the house. Dolby’s 3D solution uses a unique full-spectrum color-filter technology that provides realistic color reproduction and extremely sharp images. Theaters equipped with Dolby 3D retain compatibility for 2D presentations with a filter wheel that retracts for 2D presentations, ensuring a bright, crisp, and colorful experience every time. Additionally, Dolby Laboratories provides cost-effective and environmentally friendly passive reusable 3D glasses. Since November 2007, Dolby has shipped more than 8,300 Dolby 3D systems and has one of the largest global footprints, with hundreds of exhibitor partners in more than 80 countries.

With the ability for content creators to mix in a discrete 7.1 format, Dolby Surround 7.1 provides four surround zones to better orchestrate audio channels for both 2D and 3D movies in a theater environment. The four surround zones incorporate the traditional Left Surround and Right Surround with new Back Surround Left and Back Surround Right zones. The addition of the two Back Surround zones enhances directionality in panning 360 degrees around the theater. Dolby Surround 7.1 format comprises eight channels of audio and has the following channel layout: Left, Center, Right, Low-Frequency Effects (LFE), Left Surround, Right Surround, Back Surround Left, and Back Surround Right. Currently over 2,100 screens are equipped with Dolby Surround 7.1.

To find a cinema with Dolby 3D and Dolby Surround 7.1 near you, visit http://bit.ly/mQvOM8.

About the Dolby Professional Reference Monitor

Filling the gap left by the CRT, the Dolby Professional Reference Monitor delivers true blacks, exceptional dark detail, high contrast, wide dynamic range, and precise color rendering. It is one of the most consistent, accurate reference monitors for creating any type of entertainment content. The award-winning Professional Reference Monitor was used on numerous high-profile projects this past year, including the 4K restoration of Apocalypse Now and the making of The Social Network.

About Dolby Laboratories

Dolby Laboratories (NYSE:DLB) is the global leader in technologies that are essential elements in the best entertainment experiences. Founded in 1965 and best known for high-quality audio and surround sound, Dolby creates innovations that enrich entertainment at the movies, at home, or on the go. Visit www.dolby.com for more information.

# # #

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon