(München--September 18, 2014) When images on the big screen take one’s breath away, it is often partly due to the technology which is behind the screen, and often “Made in Germany”. Every two years filmmakers and technicians meet in Munich for one of the most important Trade Fairs of the industry, cinec which honors the most outstanding innovations in the area of film production.
Admittedly, comparatively few people have heard about the “Tech”-Oscars compared to the famous Hollywood ceremony but the Academy of Motion Picture Arts and Science have been presenting awards for technical developments in the movie business since 1931 – just two years less than those “other” Oscars.
Everyone can imagine how important these awards for technical excellence are but they do not capture the imagination of the public like stars in classy gowns on the red carpet. We should however take note that the technicians of Hollywood’s Movie Academy are just as particular in their choices as their colleagues presenting awards for work for in front of camera; the famous Oscar statuette goes only to those at the pinnacle of technical achievement.
It could be argued that German Cinema is struggling in the world or even in local theatres but when we talk about movie technology, the country’s engineers are on the top rung in the world. Stands, cranes and dollies from Germany are an integral part of international productions. This year’s film “Noah” with Russell Crowe showed the deluge through optics from Carl Zeiss. The Coen-Brothers illuminated their “Inside Llewyn Davis” with light from Dedo Weigert. The camera recording the levels of the “Grand Budapest Hotel” was lifted by a platform from MAT. The Cinemascope-optics from Vantage gave depth to George Clooney’s “Monuments Men”. The super-crane from Burbulla floated over Angelina Jolie in “Maleficent” - as it had previously floated over Titanic, Harry Potter, James Bond and in the Lord of the Rings Trilogy.
Let us not forget about Munich based ARRI, without their cameras, little of significance would happen in the world of cinema these days. Recent works include award winning art cinema from Alexander Paines “Nebraska” and the acclaimed effects-spectacle from “Guardians of the Galaxy”. Luckily the 100 years old company made the transfer from the movie to the digital world much better than others despite rumours that the traditional manufacturer had failed to move with the times. In the end it was a mixture of 100 years of know-how, a practical approach, inventive genius and street credibility that made it happen. ARRI is for camera operators like Apple for technic-fans: user-friendly, elaborate and reliable. The “Alexa” which changed the market for digital cameras is its iPhone.
Who is surprised that the industry is having its own Trade Fair? Most of the manufacturers are in Munich and that is where all the technicians meet at the cinec every two years. Maybe there are bigger trade fairs, but there is none (outside of Hollywood) that focuses on the needs and developments of the work for the cinema in such a way. Cinec is anything but a local event, there are visitors and manufacturers from all over the word; almost half of the exhibitors are from abroad, mostly from USA or UK.
cinec, where so much knowledge and experience comes together, is the right place to compare and to judge contenders for the different categories of the “cinecAwards”; this is why they have become the most important award of their kind outside Hollywood. The cinec awards are about early recognition of technical innovation: the remote-controlled flying camera of the Campilots, which was the first to cruise in the Sistine Chapel, won the cinec Award in 2010 and shortly afterwards the Innovation Award of German Cinema. This year, 43 innovations from the realm of Camera Technology and Equipment, Lighting, Optics, and other categories were submitted for the coveted awards. They will be examined by the jury during this year’s cinec, 21st to 23rd September in Munich’s MOC. The prizes will be awarded by the Society of CineTechnik Bayern in surroundings even the Oscars don’t have: The Emperor’s Hall (Kaisersaal) of Munich’s Residenz.
All information about the trade fair – list of exhibitors, ancillary program, and registration form – can be found at http://www.cinec.de/en