You may have noticed that the release date has shifted from December 2012 to 2013 “summerish”. The slipping and vagueness is not due to problems with the film or certainty of completion. Although I could get hit by a bus or aliens could invade…or maybe the Apocalypse of the Week will actually happen – but the film will be completed otherwise thanks to your ongoing support.
But over the last 9 months there have been some major changes in the giant screen world, especially with IMAX™ Corporation that have a huge impact on Outside In. The biggest obstacle the film has faced has been: — even after every last penny has been raised and the film is 100% complete, it can’t be shown in the largest flat and any of the IMAX™ dome screens. Those are based on film projection and to create a filmout of Outside In, and say 25 prints, runs northwards of $500,000. And supposedly, it would be years before most had converted.
I had, of course, done work on what could be done to secure those funds from potential distributors and investors. They basically want your first born in a deal with the devil. Big changes to the film, complete loss of control of the project, total control distribution. Things that I find unacceptable as it would invalidate the reasons I’ve sacrificed so much over the past years and betray the many wonderful supporters of the film.
But the world changes rapidly. Kodak went into financial trouble, then bankruptcy. Several competitors to IMAX demoed – then starting selling and installing digital projection systems for giant screen venues. The biggest news was two big announcements. IMAX bought a number of Kodak patents and then partnered with their competitor on next generation laser projection system due out in 2013. This new system is primarily aimed at those film-based dome and very large 2D screens that need the brightness a laser light engine can deliver.
So now, it looks like by late 2013 and certainly 2014, there will be many digital venues that are true giant screen where Outside In can be seen, pure and uncompromised. Better yet, if the film is successful at some of those venues, a film print can be funded without making any changes to the film. The distributor/funder will recoup their investment plus a profit from the box office.
And one more thing – despite my life-long love of film, the Saturn fly-through clip was part of demo between the best of film vs. the best of digital projection. It looked better on these new digital projectors – film has grain that is no present in my original footage and film displays less colors, so the very fine color details in Saturn’s clouds were lost going to film.
So the best way to see Outside In will be on the next generation of digital projection. That’s a win win win for everyone.