By MCN Editor editor@moviecitynews.com

AURORA CINESTREEM LAUNCHES THE PREMIERE ANTI-PIRACY DEVICE TO STREAM CONTENT

Industry Veterans Bring Patented Technology with Significant Studio Support to the Marketplace

Los Angeles, September 23, 2010: Aurora CineStreem Corporation announced the launch of the Aurora CineStreem Professional Set-Top Box today, a device designed to securely bring streaming content to film industry professionals via a standard Internet connection. The first of its kind, the device’s features include the distribution of content, starting from film dailies and through award season, in lieu of distributing DVD screeners. The innovative system has been developed by veteran film producer Anatoly Fradis and Emmy-winning special effects wizard John Vulich with state of the art copyright protection.

The Aurora CineStreem Professional Set-Top Box is poised to be a revolutionary advancement, expediting and securing the delivery of material needed in the production and distribution of filmed media. Fradis and Vulich pulled from their own experiences as filmmakers to design professional features to meet the specific needs and requirements of the media industry. The device may be used to view demo reels, casting sessions, screen tests, location scouting during pre-production and viewing dailies and rough cuts during production and post-production all the way to delivering screeners for sales purposes and awards consideration.

Members of various guilds and studio executives have been invited to demo the device prior to its launch, including AMPAS and BAFTA, as an alternative option to combat the piracy threats found within the awards season screener distribution process. The Aurora CineStreem Professional device uses a closed system without direct access to media files, and thus eliminating the possibility to copy or modify content.

Aurora CineStreem Corporation President Anatoly Fradis said: “We are leaps and bounds ahead of our competitors and the first to bring such a device to the entertainment community and eventually consumers. Aurora CineStreem is the next step in technology and answer to copyright infringements caused by piracy.”

The compact device, weighing just 0.75 lbs requires only a Broadband Internet connection to employ its high-powered Sigma secure media processor. The Aurora CineStreem offers a pioneering five levels of copy protection with AES 128 bit Encryption, password authentication, HDCP, Rovi/Macrovision analog protection and forensic watermarking, which is now required by many studios for distribution of early window HD content. The system also employs a proprietary variable bit-rate encoding application as a method to prepare the content for seamless streaming on the platform. The device will be sold for under $200/box with a flat subscription fee to be determined.

Vice-President of Creative Development John Vulich said: “The device offers studios, guilds, unions and independent filmmakers unparalleled security as well as a cost-effective solution against piracy and content distribution, which has been overwhelmingly acknowledged among industry executives”

A consumer version of the device will also be introduced featuring Internet TV channels and VOD content. The company is working closely with a major studio, who is testing the Professional version of the device, as well as finalizing a deal for consumer implementation of the product with a major Russian Network (120,000,000 viewers) and one of the largest Networks in Asia (with more than 170,000,000 viewers).

About Anatoly Fradis, President
After working as a film director for Mosfilm Studios in Russia and moving to the United States, 32 years ago, Fradis has become one of the major suppliers of American films to Russia, selling as many as 60 films per year. Among his many diversified activities, Fradis owns and controls several companies, with business activities ranging from travel services to theatre construction and management. Entertainment partnerships have included “Back in the USSR” for 20th Century Fox/Largo Entertainment; “The Inner Circle” for Columbia Pictures; first US films, sold for private distribution in Russia, such as “Rambo – First Blood,” “Gone with the Wind,” “Wanted Dead or Alive,” “Stella,” and “Elvira-Mistress of the Dark.” Fradis produced four pictures in cooperation with Roger Corman, as well as several episodes of Zalman King’s “Red Shoe Diaries” for Showtime and the action-thriller “Black Sea-213″ for HBO/Playboy International.

In 1999, Fradis co-founded Theatre Promotions Management Corporation which was soon tasked with the renovation of the October Cinema in Moscow, supplying this 11 screen multiplex with super-advanced film projection, sound and concert equipment. The year 2002 saw the creation of Marching Band Productions, with his long time associate, Joseph Cohen, which financed and executive produced Bob Dylan’s “Masked and Anonymous” (Sony Classics). In 2005 to 2006, Fradis financed and produced “Return of the Living Dead: Necropolis” and “Return of the Living Dead: Rave to the Grave,” which were sold for the distribution in the United States to NBC Universal/Sci-Fi Channel and LionsGate Entertainment. Fradis is in pre-production on a $25 million major motion picture, “Babi Yar,” to be directed by Barry Levinson and in development or pre-production on several other projects, including “Off Center: Paul Lynde Story,” and “Chronic” (to be directed by four-time Emmy winner, John Vulich).

About John Vulich, Vice-President of Creative Development
John Vulich is a four-time Emmy award winner and has worked in the motion picture industry for over 25 years as a special effects artist, director and most recently as a producer. He is a member of the Director’s Guild of America and the Academy of Television Arts & Sciences. In 1989, with his partner Everett Burrel, he founded the award-winning special effects company, Optic Nerve Studios. Vulich has done visual effects work for virtually every major film studio with directors and producers such as Tim Burton, Spike Jonze, Christopher Nolan, and Joss Whedon. Film credits include, “Batman Returns,” “Robin Hood: Men in Tights,” “Hot Shots! Part Duex,” “Dracula: Dead and Loving It,” “Starship Troopers,” “Batman & Robin,” “Susan’s Plan,” “Being John Malkovich,” “We Were Soldiers” and “The Prestige.”

He received four Emmy awards and 12 nominations for his special effects work on the hit TV shows “Babylon 5,” “X-Files” and “Buffy the Vampire Slayer.” In 1996, he directed an episode of the ABC TV series “Hypernauts.” Since 2004, Vulich has been focusing on producing, with such credits as “Madhouse,” two films in the “Return of the Living Dead” series and “Furnace.”

The advisers and partners in the company include renowned Hollywood financier, Joseph Cohen, talent agent, Todd Smith and DDA’s Chairman, Dennis Davidson.

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One Response to “AURORA CINESTREEM LAUNCHES THE PREMIERE ANTI-PIRACY DEVICE TO STREAM CONTENT”

  1. Porky says:

    An interesting dialogue is worth comment. I think that you should write more on this topic, it won’t be a taboo topic however generally individuals are not sufficient to talk on such topics. To the next. Cheers

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch