Tuesday, September 24 9:00 AM - 10:15 AM Session D: Digital Cinema Overview - From Production and Distribution to Projection The film industry is slowly transforming into a 100% digital experience, from the high end super-animated all-digital experience to the low budget digital feature production, from the creation of private digital broadband network to the transfer of digital dailies and then finally to the ultimate destination of immediate digital distribution or CD distribution of features and their projection in movie theatres. In this session, we bring together players who can offer an overview of how digital cinema is changing the industry, speaking to the timeline of development and implementation. The day of end-to-end digital is very near. Brooke Williams, Marketing Manager, TI DLP Cinema™ Harry Mathias, Director of Digital Cinema, America, Barco Glenn Kennel, Program Manager for Digital Cinema, Kodak Russell J. Wintner, Principal, Exhibitor Relations, Alternative Programming and Marketing, Technicolor Digital Cinema Maurice Patel, Product Manager, Discreet Ken Suddleson, Partner, Morrison & Foerster LLP, Moderator Harry Mathias is Director of Digital Cinema, America with Barco Digital Cinema. He was Director of Motion Picture Technology, worldwide, for Schneider Optics Inc. Mathias was Senior Consultant to Panavision Inc. for 18 years. For whom he contributed to every generation of camera since the original Panaflex. He also contributed to the design of the Panacam video camera. He has been a member of most of the study groups of the SMPTE Digital Cinema DC28 committee, since it’s beginnings. In the past, In the past, Mathias has consulted for, or designed equipment for Arriflex, Cinema Products, Eastman Kodak, and Spectra Cine. He holds several U.S. and Foreign Patents. In addition to his engineering work, Mathias has been a motion picture Director of Photography for 30 years, having made 21 feature films. He was nominated for an Academy Award in 1980. He was the only American Consultant to the European Common Market on the subject of High Definition Television. Mathias is the author of many books including: ELECTRONIC CINEMATOGRAPHY, published by Wadsworth (in 3 languages); co-author with Vice President Al Gore, of the book: HDTV, THE POLITICS, POLICIES, AND ECO-NOMICS OF TOMORROW'S TELEVISION; contributing author to TELEVISION IMAGE QUALITY, a book published by the SMPTE; contributing author to THE AMERICAN CINEMATOGRAPHER’S HANDBOOK and the AMERICAN VIDEOGRAPHER’S VIDEO HANDBOOK. He has taught classes at UCLA, USC, Stanford University, American University, The American Film Institute, the Swedish Film Institute, and the Directors Guild of America's Forum for Continuing Education. Russell J. Wintner is Principal, Exhibitor Relations, Alternative Programming, and Marketing for Technicolor Digital Cinema. Russ’s primary responsibilities include relationship development with exhibitors, alternative programming business development, equipment sales, and oversight of the general marketing effort of Technicolor Digital Cinema. Russ has 25 years of experience as an entrepreneur and with start-up companies. In 1996, he co-founded CineComm Digital Cinema, the first to introduce digital cinema delivery of motion pictures to movie theaters around the world via satellite. He served as CineComm's President, Exhibition and Chief Operating Officer. Russ orchestrated the world's first public exhibition of a major motion picture (Star Wars: The Phantom Menace) in digital form to a paying audience. A member of the National Association of Theatre Owners Board of Directors since 1975, Russ has served a variety of offices. Russ continues to operate a family drive-in theatre in Cleveland, Ohio. He is also a member of S.M.P.T.E., Motion Picture Pioneers, and a member of Variety Clubs Tent 6. He is a graduate of Lehigh University with a Bachelor of Science in Industrial Engineering. Glenn Kennel, Program Manager for Digital Cinema, Kodak: Glenn Kennel’s experience in the realm of hybrid technologies is unmatched. He was responsible for the implementation of an end-to-end system for digital scanning, color correction, conforming and film recording that is now emerging as a model for the future of filmmaking. He has been working on the design, development and implementation of digital film scanning and recording systems since 1985. Kennel has a BS degree in Chemical Engineering from Bucknell University, a MS degree in Electrical Engineering from the Rochester Institute of Technology, and a MS degree from the Simon School at the University of Rochester. Kennel has long worked at the crossroads of film and electronic images. In 1993, he was awarded the SMPTE AGFA-Gevaert Gold Medal for Achievement in the development of new techniques and equipment that improve the interface between motion picture film and television imaging systems. Kennel’s responsibilities at Kodak have included the development and marketing of Cineon conversion products including the Lightning II laser recorder and the Genesis Plus digital film scanner. Kennel was also project manager for the team that developed the first prototype of the HDTV telecine that was the basis for the Philips Spirit DataCine. From 1998 to 1999, Kennel was director of technology for Cinesite’s Digital Mastering Group. There he was responsible for defining and developing technology and practices to support digital mastering and digital intermediate services. Today, as program manager for digital cinema, Kennel coordinates Kodak’s development of products and services for the digital cinema market and manages key partner relationships and Kodak’s contributions to industry standardization. Maurice Patel, product manager, Discreet systems division, is a graduate of Imperial College of Science and Technology, London, UK. He started his career at an independent training facility in France before joining Avid Technology as Matador and Media Illusion product specialist in 1995. In 1997 he relocated to the USA where he was Avid's Industry Specialist for feature film, collaborating with light-house accounts such as ILM, Disney Feature Animation and Square Hawaii to implement compositing and visual effects pipelines based on Media Illusion. He spent the next few years working with Avid on a range of projects focusing on visual effects product marketing and product design, including 2 years at Softimage working on Avid|DS. In march 2001 Maurice Patel joined Discreet as Product Marketing Manager for flame, flint, inferno, combustion and the new Discreet Media Architecture. Ken Suddleson is a partner and co-chair of Morrison & Foerster's entertainment and technology practice. A pioneer in the entertainment industry for more than 25 years and former Paramount Pictures executive and board member, Mr. Suddleson is spearheading Morrison & Foerster's digital cinema initiatives assisting clients in this area of law. He has spoken on several distinguished panels regarding digital cinema and has been quoted in the Los Angeles Times, Variety and The Hollywood Reporter in the digital cinema and digital entertainment space. In addition, he also represents clients engaged in all facets of the entertainment industry and related businesses worldwide, including motion pictures, television, music and new media. Mr. Suddleson advises and represents major motion picture studios and television companies in such matters as the acquisition of film and program libraries and motion picture and television programming development, production and distribution. Morrison & Foerster is one of the largest international law firms with more than 1,000 lawyers in 18 offices worldwide, and is a leader in entertainment and technology matters with offices in Century City and Los Angeles.