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Interesting development.  We have heard anecdotally that the cost to build the OLED displays in our industry are prohibitively expensive, mainly due to low manufacturing yields on the components.
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Sony and Panasonic Team to Develop OLED Television Displays
June 25, 2012
Source: Deadline

Great article - very powerful and a really great ending. Chris McGurk brings current facts and industry history to the front and center of the digital revolution.
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Chris McGurk Sees Movie “Renaissance” Instead Of “Apocalypse” – Thanks To Digital
Source: Deadline
June 16, 2012

There are some really interesting things about this article, all of it swirling around Sony touting 4K (both 2D & 3D) as the ultimate viewing experience. When coupled with the F65, it really shows Sony's ability to market products as complete workflows, literally from start to finish - and this is echoed in everything they say about Sony's commitment to 4K pipelines and developing distribution options for 4K projection.

That said, I know from my own experiences with the Sony T420 & Real D lens, the technology to create a 3D image from the single projector involves basically creating a 2K 3D system since it's using a single projector and dual lens to create. However, it looks like in the MIB3D premiere, they used a total of 4x projectors with overlapping images - plus the trimmed DCP for the higher 6.1 fL light level. I'd be curious about the playback system for this sort of set-up - and whether it was actually a 4K DCP that was created and shown or simply a 2K 3D version. I suspect the latter.
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It's a 4K World: Sony Digital Cinema Projects Next Generation in Barcelona
June 18, 2012
Source: Film Journal

This is an impressively in-depth look at stereo conversion using several different projects as case studies.
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Art of Stereo Conversion: 2D to 3D – 2012
May 8, 2012
Source: FX Guide
 

I encourage you all to watch this.

Fascinating interview regarding the challenges associated with funding television content in the future. Ari Emmanuel (of WMEndeavor fame), criticizes Google, AT&T, and Verizon for facilitating piracy of Hollywood's content. Hard to argue that those companies' jobs includes policing their "pipes," but he responds that, if these entities can prevent certain types of illegal content (e.g., pornography), they have the capabilities to prevent other types of content (e.g., pirated movies). He comments that distribution networks are commoditized (which is a stark contrast to the 1990's), and the value lies in owning original content. This is something I have said when expressing my excitement regarding Netflix's decision to generate original content.

While an iTunes type business model for television seems plausible, Emmanuel argues that the economics don't work. A single television episode costs $3mm--ignoring all distribution and marketing costs--and a content creator needs lots of $0.99 payments (i.e., the likely price that the consumer is willing to pay) to recoup that cost. Are consumers willing to pay significant dollars per episode to watch quality content, or will they ignore anything that costs above $0.99?    

Interesting times we live in...
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D10 Video: Ari Emanuel Session Highlights
Source: All Things D
May 31, 2012

From today's Wall Street Journal. Additional consolidation in the hard drive market. You may recall that Hitachi announced the sale of its hard drive division (including G-Tech) to Western Digital last year. That transaction closed in March, 2012. According to Hoover's, Seagate and Western Digital each hold more than 40% market share, and Toshiba is third largest player (albeit way behind).

Cinesite has a very storied past in the Digital Intermediate world. According to Wikipedia, they operated as a test site for Kodak's Cineon computer system, which was an end-to-end solution for 2K and 4K digital files. Eventually, Cinesite's Hollywood office was absorbed by Laser Pacific, another Kodak company.

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Cinesite announces sale to Endless

May 11, 2012

Source: Cinesite

From ExtremeTech.com's Sebastian Anthony, this is a pretty good bird's eye view of digital cinema distribution paths and the different pieces of the process:

Announcement was made yesterday. JPMorgan Chase, and its private equity arm, One Equity Partners, are purchasing up to a 29.96% stake in Technicolor at a price between $193mm and $207mm. Technicolor will use the proceeds to pay down existing debt, and to move forward with its "Amplify 2015" strategic roadmap.

On March 14th, Apple made good on a number of rumors with the release of its 3rd installment of iPad.  While they don’t officially call it the iPad 3, people in my circle are quickly defining it as such so as to distinguish it from previous iterations.