Paramount Picture’s “Transformers: Revenge of the Fallen” bowed on Imax with an estimated five-day gross of $14.4 million, the biggest ever for the giant screen exhibitor, on a record opening of 169 screens. Toronto-based Imax also estimated Michael Bay’s action sequel earned a per-screen average of over $85,000 between June 24 and June 28, with the Imax version contributing 7% of the film’s estimated $201.2 million total domestic boxoffice on around 2% of the screens.
In sharp contrast to its SAG counterpart, Canuck actors union ACTRA has ratified its contract agreement with producers’ orgs six months before its existing deal expires Dec. 31. “We want to send a positive message to the U.S. and to the Canadian industry that there’s labor peace and let’s get to work,” said Stephen Waddell, ACTRA’s national executive director. Some 98.3% of thesps voters voted in favor of the deal, which gives actors a rate increase of 2% each year for three years.
FilmTotalTransformers: Revenge of the Fallen, P/DW$108,966,307The Proposal, BV$18,578,541The Hangover, WB$17,022,166Up, BV$13,061,737My Sister’s Keeper, WB$12,442,212Year One, Sony$6,022,444The Taking of Pelham 1 2 3, Sony$5,451,107Star Trek, Par.$3,711,968Night at the Museum: Battle of the Smithsonian, Fox$3,643,522Away We Go, Focus$1,709,313
Cinema Expo had one message for Europe’s theater owners last week: Get behind 3-D. Other industry concerns, such as piracy and preserving release windows, took a backseat at the Amsterdam confab to a concerted push from Hollywood’s 3-D faithful. There was an extended preview of “Avatar” presented by James Cameron[…]
He’s just finished overseeing the digital visual effects on one of the largest and most complex vfx pictures ever, “Transformers: Revenge of the Fallen.” He’s an unquestioned expert in CGI. But Scott Farrar is a cameraman at heart. “When I got into the business, the gods — the people who meant the most to me — were the directors of photography,” Farrar says. The Escondido, Calif., native and UCLA grad joined ILM as a camera operator on 1982’s “Star Trek II: The Wrath of Khan.” Just three years later, he was an Oscar winner as vfx supervisor of “Cocoon.”
Paramount Picture’s “Transformers: Revenge of the Fallen” bowed on Imax with an estimated five-day gross of $14.4 million, the biggest ever for the giant screen exhibitor, on a record opening of 169 screens. Toronto-based Imax also estimated Michael Bay’s action sequel earned a per-screen average of over $85,000 between June 24 and June 28, with the Imax version contributing 7% of the film’s estimated $201.2 million total domestic boxoffice on around 2% of the screens.
In sharp contrast to its SAG counterpart, Canuck actors union ACTRA has ratified its contract agreement with producers’ orgs six months before its existing deal expires Dec. 31. “We want to send a positive message to the U.S. and to the Canadian industry that there’s labor peace and let’s get to work,” said Stephen Waddell, ACTRA’s national executive director. Some 98.3% of thesps voters voted in favor of the deal, which gives actors a rate increase of 2% each year for three years.
FilmTotalTransformers: Revenge of the Fallen, P/DW$108,966,307The Proposal, BV$18,578,541The Hangover, WB$17,022,166Up, BV$13,061,737My Sister’s Keeper, WB$12,442,212Year One, Sony$6,022,444The Taking of Pelham 1 2 3, Sony$5,451,107Star Trek, Par.$3,711,968Night at the Museum: Battle of the Smithsonian, Fox$3,643,522Away We Go, Focus$1,709,313
Cinema Expo had one message for Europe’s theater owners last week: Get behind 3-D. Other industry concerns, such as piracy and preserving release windows, took a backseat at the Amsterdam confab to a concerted push from Hollywood’s 3-D faithful. There was an extended preview of “Avatar” presented by James Cameron[…]
He’s just finished overseeing the digital visual effects on one of the largest and most complex vfx pictures ever, “Transformers: Revenge of the Fallen.” He’s an unquestioned expert in CGI. But Scott Farrar is a cameraman at heart. “When I got into the business, the gods — the people who meant the most to me — were the directors of photography,” Farrar says. The Escondido, Calif., native and UCLA grad joined ILM as a camera operator on 1982’s “Star Trek II: The Wrath of Khan.” Just three years later, he was an Oscar winner as vfx supervisor of “Cocoon.”
Paramount Picture’s “Transformers: Revenge of the Fallen” bowed on Imax with an estimated five-day gross of $14.4 million, the biggest ever for the giant screen exhibitor, on a record opening of 169 screens. Toronto-based Imax also estimated Michael Bay’s action sequel earned a per-screen average of over $85,000 between June 24 and June 28, with the Imax version contributing 7% of the film’s estimated $201.2 million total domestic boxoffice on around 2% of the screens.
In sharp contrast to its SAG counterpart, Canuck actors union ACTRA has ratified its contract agreement with producers’ orgs six months before its existing deal expires Dec. 31. “We want to send a positive message to the U.S. and to the Canadian industry that there’s labor peace and let’s get to work,” said Stephen Waddell, ACTRA’s national executive director. Some 98.3% of thesps voters voted in favor of the deal, which gives actors a rate increase of 2% each year for three years.
FilmTotalTransformers: Revenge of the Fallen, P/DW$108,966,307The Proposal, BV$18,578,541The Hangover, WB$17,022,166Up, BV$13,061,737My Sister’s Keeper, WB$12,442,212Year One, Sony$6,022,444The Taking of Pelham 1 2 3, Sony$5,451,107Star Trek, Par.$3,711,968Night at the Museum: Battle of the Smithsonian, Fox$3,643,522Away We Go, Focus$1,709,313
Cinema Expo had one message for Europe’s theater owners last week: Get behind 3-D. Other industry concerns, such as piracy and preserving release windows, took a backseat at the Amsterdam confab to a concerted push from Hollywood’s 3-D faithful. There was an extended preview of “Avatar” presented by James Cameron[…]
He’s just finished overseeing the digital visual effects on one of the largest and most complex vfx pictures ever, “Transformers: Revenge of the Fallen.” He’s an unquestioned expert in CGI. But Scott Farrar is a cameraman at heart. “When I got into the business, the gods — the people who meant the most to me — were the directors of photography,” Farrar says. The Escondido, Calif., native and UCLA grad joined ILM as a camera operator on 1982’s “Star Trek II: The Wrath of Khan.” Just three years later, he was an Oscar winner as vfx supervisor of “Cocoon.”