IMAX Corporation (Exact Name of Registrant As Specified in Its Charter) Canada 98-0140269 (State Or Other Jurisdiction of (I.R.S
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Imax Corporation 1999 Annual Report 12950-Z142/3 Imax Covers 4/25/00 3:17 PM Page 1
eport 1999 Annual R Imax Corporation IMAX CORPORATION 1999 ANNUAL REPORT 12950-Z142/3 Imax Covers 4/25/00 3:17 PM Page 2 12950-Z142/3 Imax Covers 4/25/00 3:17 PM Page 1 From the majesty of Mysteries of Egypt’s pyramids to the spectacular Design Atlanta Incorporated animated worlds we visit in Fantasia 2000: The IMAX Experience® to the Academy Award®-winning and hauntingly beautiful landscapes we enter Cover Photo CyberWorld ANTZ, Dreamworks SKG/PDI, USA TM 3 in Old Man and the Sea, only IMAX takes you there. More than 70 million THE SIMPSONS , “Homer ”, Twentieth Century Fox Film Corporation/PDI, USA Joe Fly and Sanchez, Spans & Partner, Germany people a year travel on journeys of discovery through the wonder of Phig and The Galleria Animatica, Spin Entertainment The IMAX Experience. Photography Sidney Baldwin AP/Wide World Photos John Beatty BFI London IMAX Cinema, British Film Institute Allan Davey Global Photo Assignments Gulliver’s Travels, A Mainframe Entertainment Production Steve Hix R. Holttum Cinemark IMAX Theatre at Cinemark 17, Dallas, TX Doug Mazell Michael Jordan to the Max National Museum of Natural History, Washington, D.C. Paul Orenstein Giant Screen Sports IDEAL Entertainment ReBoot® Mainframe Entertainment Richard Payne Regal IMAX Theatre, New Rochelle, NY Science Museum of Minnesota Brian Smale Typesetting and film Moveable Type Inc. Printed in Canada Howell Printing Company Limited IMAX® and The IMAX Experience® are registered trademarks of Imax Corporation. All rights reserved. Digital Light ProcessingTM, DLPTM, Digital Micromirror DeviceTM and DMDTM are all trademarks of Texas Instruments. Emmy© is a copyright of the Academy of Television Arts and Sciences. -
Condensed 8-27-16 Delegate List for Website
Delegate List as of August 27, 2016 First Last Company Title City State Country Lauren Alleva World Golf Hall of Fame IMAX Theater Marketing & Promotions Manager St. Augustine FL USA Abdullah Alshtail The Scientific Center IMAX Theater Manager Kuwait Stephen Amezdroz December Media Pty Ltd Producer South Melbourne VIC Australia Marketing and Communications Christina Amrhein The Challenger Learning Center Manager Tallahassee FL USA Violet Angell Golden Gate 3D Producer Berkeley CA USA John Angle The Tech Museum IMAX Chief Projectionist San Jose CA USA Chris Appleton IMAX Corporation Senior Manager, Aftermarket Sales Los Angeles CA USA Tim Archer Masters Digital Canada Director of Marketing and Katie Baasen McWane Science Center Communications Birmingham AL USA Doris Babiera IMAX Corporation Associate Manager, Film Distribution Los Angeles CA USA Shauna Badheka MacGillivray Freeman Films Distribution Coordinator Laguna Beach CA USA Peter Bak-Larsen Tycho Brahe Planetarium CEO Denmark Janine Baker nWave Pictures Distribution Snr VP Film Distribution Burbank CA USA Center for Science & Society and Twin JoAnna Baldwin Mallory Cities PBS Producer/Executive Producer Boston MA USA Jim Barath Sonics ESD Principal Monterey CA USA Jonathan Barker SK Films President & CEO Toronto ON Canada Director of Distribution Media and Chip Bartlett MacGillivray Freeman Films Technology Laguna Beach CA USA Sandy Baumgartner Saskatchewan Science Centre Chief Executive Officer Regina SK Canada Samantha Belpasso-Robinson The Tech Museum IMAX Theater Operations Supervisor San Jose CA USA Amanda Bennett Denver Museum of Nature & Science Marketing Director Denver CO USA Jenn Bentz Borcherding Pacific Science Center IMAX Projectionist Supervisor Seattle WA USA Vice President Product Development Tod Beric IMAX Corporation Engineering Mississauga ON Canada 1 Delegate List as of August 27, 2016 First Last Company Title City State Country Jonathan Bird Oceanic Research Group, Inc. -
9. IMAX Technology and the Tourist Gaze
Charles R. Acland IMAX TECHNOLOGY AND THE TOURIST GAZE Abstract IMAX grew out of the large and multiple screen lm experiments pro- duced for Expo ’67 in Montréal. Since then, it has become the most suc- cessful large format cinema technology.IMAX is a multiple articulation of technological system, corporate entity and cinema practice. This article shows how IMAX is reintroducing a technologically mediated form of ‘tourist gaze’, as elaborated by John Urry,into the context of the insti- tutions of museums and theme parks. IMAX is seen as a powerful exem- plar of the changing role of cinema-going in contemporary post-Fordist culture, revealing new congurations of older cultural forms and practices. In particular,the growth of this brand of commercial cinema runs parallel to a blurring of the realms of social and cultural activity,referred to as a process of ‘dedifferentiation’. This article gives special attention to the espistemological dimensions of IMAX’s conditions of spectatorship. Keywords cinema; epistemology; postmodernism; technology; tourism; spectatorship Technologies and institutional locations of IMAX N E O F T H E rst things you notice at the start of an IMAX lm, after the suspenseful atmosphere created by the mufed acoustics of the theatre, andO after you sink into one of the steeply sloped seats and become aware of the immense screen so close to you, is the clarity of the image. As cinema-goers, we are accustomed to celluloid scratches, to dirty or dim projections, and to oddly ubiquitous focus problems. The IMAX image astonishes with its vibrant colours and ne details. -
Paramount Pictures' 3-D Movie Transformers: Dark of The
PARAMOUNT PICTURES’3 -D MOVIE TRANSFORMERS: DARK OF THE MOON LAUNCHES BACK INTO IMAX® THEATRES FOR EXTENDED TWO-WEEK RUN Film Grosses $1,095 Billion to Date Los Angeles, CA (August 23, 2011) – IMAX Corporation (NYSE:IMAX; TSX:IMX) and Paramount Pictures announced today that Transformers: Dark of the Moon, the third film in the blockbuster Transformers franchise, is returning to 246 IMAX® domestic locations for an extended two-week run from Friday, Aug. 26 through Thursday, Sept. 8. During those two weeks, the 3-D film will play simultaneously with other films in the IMAX network. Since its launch on June 29, Transformers: Dark of the Moon has grossed $1,095 billion globally, with $59.6 million generated from IMAX theatres globally. “The fans have spoken and we are excited to bring Transformers: Dark of the Moon back to IMAX theatres,”said Greg Foster, IMAX Chairman and President of Filmed Entertainment. “The film has been a remarkable success and we are thrilled to offer fans in North America another chance to experience the latest chapter in this history making franchise.”Transformers: Dark of the Moon: An IMAX 3D Experience has been digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology for presentation in IMAX 3D. The crystal-clear images, coupled with IMAX’s customized theatre geometry and powerful digital audio, create a unique immersive environment that will make audiences feel as if they are in the movie. About Transformers: Dark of the Moon Shia LaBeouf returns as Sam Witwicky in Transformers: Dark of the Moon. -
Estta1050036 04/20/2020 in the United States Patent And
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA1050036 Filing date: 04/20/2020 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91254173 Party Plaintiff IMAX Corporation Correspondence CHRISTOPHER P BUSSERT Address KILPATRICK TOWNSEND & STOCKTON LLP 1100 PEACHTREE STREET, SUITE 2800 ATLANTA, GA 30309 UNITED STATES [email protected], [email protected], [email protected] 404-815-6500 Submission Motion to Amend Pleading/Amended Pleading Filer's Name Christopher P. Bussert Filer's email [email protected], [email protected], [email protected] Signature /Christopher P. Bussert/ Date 04/20/2020 Attachments 2020.04.20 Amended Notice of Opposition for Shenzhen Bao_an PuRuiCai Electronic Firm Limited.pdf(252165 bytes ) IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD In the matter of Application Serial No. 88/622,245; IMAXCAN; Published in the Official Gazette of January 21, 2020 IMAX CORPORATION, ) ) Opposer, ) ) v. ) Opposition No. 91254173 ) SHENZHEN BAO’AN PURUICAI ) ELECTRONIC FIRM LIMITED, ) ) Applicant. ) AMENDED NOTICE OF OPPOSITION Opposer IMAX Corporation (“Opposer”), a Canadian corporation whose business address is 2525 Speakman Drive, Sheridan Science and Technology Park, Mississauga, Ontario, Canada L5K 1B1, believes that it will be damaged by registration of the IMAXCAN mark as currently shown in Application Serial No. 88/622,245 and hereby submits this Amended Notice of Opposition pursuant to 37 C.F.R. §2.107(a) and Fed. R. Civ. P. 15, by which Opposer opposes the same pursuant to the provisions of 15 U.S.C. -
Event Program
EVENT PROGRAM TWITTER: #GSCA GIANTSCREENCINEMA.COM Program sponsored by i ii NTS TABLE OF CONTENTS TABLE OF CONTENTS TA GSCA Contacts Giant Screen Cinema Association 624 Holly Springs Road, Suite 243 Holly Springs, NC 27540 U.S. giantscreencinema.com 2 Thank You to Our Sponsors facebook.com/giantscreencinema twitter.com/gsca 4 Schedule Find our group on LinkedIn 7 Event Map Tammy Seldon Executive Director 8 New Films Office: 1-919-346-1123 14 Films in Production Mobile: 1-703-855-3699 [email protected] Projects in Development 22 Kelly Germain Director of Membership and 28 Symposium Sessions Communications 30 Session Presenters Office: 1-651-917-1080 Mobile: 1-651-270-4915 [email protected] Advertiser Index Eileen Pheiffer 3D Entertainment Distribution inside front cover Accounting American Museum of Natural History 15 Office: 1-314-725-7020 Mobile: 1-314-708-0448 FotoKem 3 [email protected] Christie 27 GSCA 2, inside back cover ImagesInSound 25 IMAX Corporation 17, back cover Jackson Hole Wildlife Film Festival 40 MacGillivray Freeman Films 20, 21 nWave Pictures Distribution 11 1 YOU THANK YOU THANK YOU THANK YOU THANK With Thanks to Our Event Sponsors Policies PLATINUM SPONSOR Recording and Media Policies Event sessions may be recorded. Audience members are advised that attendance at these sessions gives GSCA their implicit permission to be recorded. Private video or audio recording during film presentations GOLD SPONSOR or professional development sessions is prohibited without prior authorization from GSCA. Industry press has access to all sessions and events. GSCA will not be held responsible for any delegate commentary made in the presence of press/media. -
HUBBLE 3D Production Notes 2 24 10
Through the power of IMAX ® 3D, “Hubble 3D,” narrated by Leonardo DiCaprio, takes moviegoers on an unprecedented voyage through distant galaxies to explore the grandeur and mystery of our celestial surroundings. Experience never-before-seen 3D flights through the farthest reaches of the universe, and accompany spacewalking astronauts on some of the most difficult and important endeavors in NASA’s history. In May 2009, the crew of the Space Shuttle Atlantis launched a mission to make vital repairs and upgrades to the Hubble Space Telescope, the world’s first space-based observatory, 350 miles above the Earth. On board was an IMAX 3D camera, operated by the shuttle astronauts. It captured stunning sequences of the five intricate spacewalks required to make those repairs, as well as close-up images of the effort to grasp the orbiting telescope with the shuttle’s mechanical arm at 17,500 mph, and one unexpected problem that threatened to sabotage the entire mission. “Hubble 3D” combines this breathtaking IMAX footage with images taken by the telescope during the nearly 20 years it has been our window into space. Through advanced computer visualization, Hubble’s detailed data becomes a series of scientifically realistic flights that unfold on screen like a guided tour of the universe, through time and space. The seventh film from the award-winning IMAX Space Team, “Hubble 3D” offers an inspiring and unique look into the legacy of the Hubble Space Telescope and how it has changed our view of the universe and ourselves. The documentary adventure “Hubble 3D” is an IMAX and Warner Bros. -
Cyberworld 3D / États-Unis, 2000, 48 Minutes]
Document généré le 30 sept. 2021 20:13 Séquences La revue de cinéma Cyberworld 3D États-Unis, 2000, 48 minutes Luc Chaput Numéro 211, janvier–février 2001 URI : https://id.erudit.org/iderudit/48722ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Chaput, L. (2001). Compte rendu de [Cyberworld 3D / États-Unis, 2000, 48 minutes]. Séquences, (211), 12–12. Tous droits réservés © La revue Séquences Inc., 2000 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CÔTÉ COURT Les Chasseurs d'ombre e tous les coins de la planète, des passionnés d'éclipsés Dsolaires sillonnent de longs parcours afin de voir mourir et renaître le Soleil l'espace de quelques minutes. Qu'est-ce qui peut bien faire courir ces irréductibles chasseurs d'ombre ? L'excellent documentaire de Jean Marc Larivière tente de répondre à la ques B|\kiv ^ïv ... m .. » .. tion en témoignant de la fascination qu'éprouvent certaines per sonnes envers ces spectacles féeriques. De l'Allemagne jusqu'en Inde, en passant par la France et l'Autriche, quatre personnes, dont l'humoriste et animateur de radio et de télévision Paul Houde, participent au rendez-vous his •-*•* s i* N ^nr> torique du 11 août 1999, date de la dernière éclipse totale du mil ::.:,S*J81F^JJ f—, 1 1 lénaire. -
Imax Annual Report 2021
Imax Annual Report 2021 Form 10-K (NYSE:IMAX) Published: March 4th, 2021 PDF generated by stocklight.com UNITED STATES SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 Form 10-K (Mark One) ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2020 ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 Commission file Number 001-35066 IMAX Corporation (Exact name of registrant as specified in its charter) Canada 98-0140269 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification Number) 2525 Speakman Drive, 902 Broadway, Floor 20 Mississauga, Ontario, Canada L5K 1B1 New York, New York, USA 10010 (905) 403-6500 (212) 821-0100 (Address of principal executive offices, zip code, telephone numbers) Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Common Shares, no par value IMAX The New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None (Title of class) Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ☒ No ☐ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes ☐ No ☒ Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Imax: Expansion in Bric Economies (Revised)
9B15M028 1 IMAX: EXPANSION IN BRIC ECONOMIES (REVISED) Dwarka Chakravarty wrote this case under the supervision of Professor Paul W. Beamish solely to provide material for class discussion. The authors do not intend to illustrate either effective or ineffective handling of a managerial situation. The authors may have disguised certain names and other identifying information to protect confidentiality. This publication may not be transmitted, photocopied, digitized or otherwise reproduced in any form or by any means without the permission of the copyright holder. Reproduction of this material is not covered under authorization by any reproduction rights organization. To order copies or request permission to reproduce materials, contact Ivey Publishing, Ivey Business School, Western University, London, Ontario, Canada, N6G 0N1; (t) 519.661.3208; (e) [email protected]; www.iveycases.com. Copyright © 2015, Richard Ivey School of Business Foundation Version: 2016-08-26 In September 2013, Richard Gelfond, chief executive officer of IMAX Corporation (IMAX), declared that the route to becoming a billion-dollar company lay in growth markets outside of North America.2 This was no “blue sky envisioning,” but a pragmatic view grounded in facts. These included competition from U.S. exhibitors offering an “IMAX-like” experience, and a flat five year box office trend in North America versus double digit growth in Asia Pacific and Latin America. In 2013, for the first time in four decades, IMAX aggregate revenue from 56 countries outside of the United States and Canada ($151 million,3 10 per cent growth from 2012) exceeded North American revenues ($137 million, 6.5 per cent decline from 2012). -
Cyberworld in IMAX 3-D Drawing, Rendering, Animating and Polishing
Antz ply done by the computer. It is done by careful planning, CyberWorld in IMAX 3-D drawing, rendering, animating and polishing. Real people 2000 48m prod lmax Corporation, Imax Sandde Animation, PDI, Spin work very hard at their workstations and are even more invis- Entertainment, Sony Pictures Imageworks, ExMachina, Satoshi ible than the 600 people who work for three or four years on Kitahara Inertia Pictures, Eye—Animation, Spans & Partner, REZN8, lightboards to make a standard Disney animation film. Dreamworks, 20th Century Fox Television, p Steve Hoban, Hugh Murray, d various, an various, mus Hummie Mann. Disney made his first stereoscopic 3—D feature in the early 1950s. It was called Make Mine Music and was adapted from CyberWorld presents eight film shorts and segments of CGI animation that are recreated in IMAX 3—D, including the bar scene from the feature film a feature—length cartoon film by shifting the peg bars of the Antz (PDT/ Dreamworks), the "Homer 3—D" segment from The Simpsons four levels of celluloid drawings on the animation stand in (PDI / 20th Century Fox Film Corporation), Monkey Brain Sushi (Sony order to separate the planes. It was projected on a metallic Pictures Imageworks), Flipbook/Waterfall City (Satoshi Kitahara/Inertia screen through polarized filters and viewed through polar- Pictures), Pet Shop Boys "Liberation" music video (Pet Shop ized glasses. It worked. But 35mm was, and is, inherently Boys/Eye—Animation), Tonight's Performance (REZN8), Joe Fly & Sanchez — unstable and as the prints loosened up on the sprockets Mostly Sports (Spans & Partner) and KarKKen (ExMachina), connected by original IMAX character segments directed by Colin Davies (Spin after many projections, you tended to get a headache Entertainment) and Elaine Despins (IMAX Sandde Animation). -
Film Websites: a Transmedia Archaeology
Film Websites: A Transmedia Archaeology Kim Louise Walden Submitted in partial fulfilment of the requirements of the University of Hertfordshire for the degree of Doctor of Philosophy November 2018 Acknowledgements I wish to thank my colleagues and supervisors, Steven Adams and Alan Peacock for their guidance through this research process. Thank you to my principal supervisor, Steven for his direction, and gently reminding me that it was permissible to cite myself as a secondary source. Thank you to my second supervisor, Alan for his open-mindedness, sharp insights and patience as well as innumerable cups of tea and coffee. I would like to thank Marsha Kinder, Dan Koelsch, Ian London, Franziska Nori, Rob Ford, Chris Thilk and Perry Wang for their advice, generously shared in email exchanges. Towards the end of the research, I was introduced to Bettina Sherick, a digital marketing pioneer and veteran from 20th Century Fox, and Founder of Hollywood in Pixels, a non-profit group dedicated to preserving the seminal digital film marketing campaigns. It was so wonderful to meet someone who shares my passion for film websites, so thank you to Bettina for the Skype conversations and emails. During this research process, I took my half-baked ideas to conferences, and benefitted enormously from the discussions that ensued. Subsequently some of this research has been published. So, I would like to thank Sara Pesce and Paolo Noto from the University of Bologna who edited my chapter in The Politics of Ephemeral Digital Media: Permanence and Obsolescence in Paratexts (2016); Likewise, Savatore Scifo, who edited my article for a special edition Interactions: Studies in Communications & Culture on digital archives (2017).