The American director Tim Burton would have not turned "Alice in Wonderland country" without the 3D embossed, "the most perfect technique for this story." The adaptation of the work of Lewis Carroll, produced by Disney studios for a budget of $ 200 million, however was turned conventionally be converted to 3D in post-production. Glowing success storm in the United States, where he sprayed the 265 million at the American box office last weekend, "Alice" today invades French screens on "735 sites, 301 3D relief", says Disney. Before the 14.4 million entries of "Avatar" in France - with an undisputed advantage for equipped rooms highlight-, the UGC has swallowed his reluctance to pass to digital projection: "" Alice"will be broadcast in 3D in a fortnight of UGC cinemas", indicates its General Director, Alain Sussfeld.
A wave of other blockbusters in 3D is expected in the next few weeks. "Dragons", from Dreamworks studios, disembark in France on 31 March. Will follow, on 7 April, an another Hollywood blockbuster, "The clash of the titans", converted into relief by Warner Bros.. What cause these distributors of the fears of not being able to access as much as they like in classrooms equipped with 3D.
Protect the diversity of the offer
The movement is running. But on 5.500 French rooms, only a thousand went to digital, and among them, one in two may make projections in 3D.
The transition to digital in the French film industry causes a stir in the sector. The mutual funds, conceived by the national Centre for cinematography (CNC) to accompany the mutation, was abandoned after criticism of the competition authority. Another schema is refined, with two objectives: ensure the digitization of the entire park - the most fragile rooms receiving public financial support - and freedom of programming distributors and operators.
In any event, the operators will have to invest massively to equip with digital projectors. Distributors must necessarily contribute to the financing by giving money them part of the savings on the price of the copy with the transition to digital. This principle should be listed in the Act "at least for the first week of operation of the film", indicates the CNC. Anne Pouliquen, Delegate General of the Union European combined independent distributors (say), "this is the difficult point, rooms may not have equitable access to the film: there will be, on the one hand, the more effective will have films in exclusivity and, on the other, the small rooms that will not have access during the first week the film, because the Distributor will want to not always pay."
According to the Bill currently subject to consultation of professionals, which "Les echos" had access, negotiations between distributors and operators will be framed to ensure transparency. In the case of disputes, the Ombudsman of the cinema can be seized. But the independent distributors want that text go further "to protect diversity."
Alain Sussfeld, the real risk is that "digital promotes the overexposure of French or American blockbusters." Operators will be able to exclude a film to make room to another - which attracts more spectators n ' matter what day of the week. "And conclude:" A term, it is the diversity of the offer which is likely to be threatened. " Governments must regulate this aspect of things. "To do this, a decree should provide the terms and conditions of programming commitment made by the operators.
But last night unions seemed still unwilling to give up the strikeIt also plans to move its dry grocery productsThe unions are strongly opposed CFDT in mindIn the terminal prices range from 499 to 829The German label ACT ran long after singersThen it emboldens to finance daring operationsIn China a foreigner can thus hold up that 33 of a domestic brokerWill it feed as the future Museum Soulagesaccording to which private copying exception involvesInvestors are selective for several months
