Cinema Technology Magazine - Spring (CinemaCon) 2025 by Cinema Technology Magazine

CINEMA TECHNOLOGY

A NEW DAWN?

E D'S NOTE

RICHARD MITCHELL,

PRESIDENT,

CINEMA TECHNOLOGY COMMUNITY.

Welcome back! As promised after a short hiatus, CT Magazine is back with what we hope you’ll find an inspiring and thought-provoking edition. Over the break we’ve been carefully setting out our vision for the publication that will hopefully give it an exciting future.

We know that you, our global readers and CTC members value this publication as it was, so in setting the direction for the magazine, we wanted it to be an evolution rather than a revolution. The magazine is very much at the heart of our thriving global community, so expect to see greater tie ins to our other outputs going forward. Hopefully you'll notice the new page layouts, typefaces, running order and even the inclusion of QR codes in our features pointing you to additional content and resources to further your understanding of the topics, but be assured the content is still very much as you have come to expect.

On the cusp of a new norm

Our re-design coincides with a very important moment for the industry. After a strong second half to 2024 from a box office perspective, all eyes are focused on CinemaCon 2025 in Las Vegas.

Many hope and believe that this moment will be the beginning of the next and final phase of the postpandemic recovery. Built on the foundations of an exciting and diverse movie slate with many tent poles, there is an expectation that the second half of 2025 and 2026 will drive movie goers back to the cinema in significant numbers.

Redoubling efforts

A year ago, I was asked whether the cinema business model required the volume of screens globally. A year on and against that positive backdrop, I believe the answer is yes and it appears, so do exhibitors! Over the past six months we’ve seen a number of large international multiplex operators preparing to invest large sums in their real estate and technology in preparation. This was best showcased by the NATO announcement last September of a $2.2 billion upgrade plan for the eight largest US cinema operators (AMC, Regal, Cinemark, Cineplex, Marcus, B&B Theatres, Harkins Theatres and Santikos Entertainment) to invest in everything ranging from sound and projection technology through to in-seat dining – a fund that will cover 21,000 screens over three years! There are other instances of similar commitments to raising the movie going experience from exhibitors all around the world, with many identifying technology as a key enabler to achieving that objective.

As we enter this exciting phase for the industry, we hope that you find this magazine informative and educative and useful in making key decisions over the coming weeks and months.

CTC PRESIDENT: RICHARD MITCHELL richard.mitchell@cinema-technology.com

ART DIRECTOR: DEAN CHILLMAID dean.chillmaid@cinema-technology.com

COMMISSIONING EDITOR: PETER KNIGHT peter.knight@cinema-technology.com

ADVERTISING: SANDIE CAFFELLE sandie.caffelle@ cinema-technology.com

SUBSCRIPTIONS:

CINEMA TECHNOLOGY CONTENTS

REGAL CINEWORLD INKS DEAL WITH BARCO

Leading cinema operator signs a deal to bring laser by Barco to 4,000 screens by 2030.

D-BOX EXPANDS FOOTPRINT IN ARGENTINA

New deals with Cinemark and Hoyts will see the leading haptic and immersive entertainment provider increase its footprint by nearly 50%.

POST PRODUCTION: PART ONE

In the first of a brand new series, Andy Quested shares his insights in to the post production process and some of the complexities involved.

INTERVIEW WITH FORMER CINEMARK CEO, TIM WARNER

Ahead of CinemaCon 2025, CT Magazine obtained an exclusive interview with one of modern cinema exhibitions most respected CEOs.

SPOTLIGHT: D'PLACE ENTERTAINMENT

Sandie Caffelle takes a look at California-based D'Place Entertainment and finds out how they provide unique experiences for their local communities.

DITCHING THE GLASSES

With 3D set to make another box office impact in 2025, we look at the autostereoscopy and how it's already being deployed outside of cinema.

CELEBRATING BARCO AT 90

On reaching this huge milestone, we take a look back at a success story built on technology and innovation that's become a leader in cinema.

LASER PROJECTION: PART TWO

In this second part, Peter Wilson and Kommer Kleijn identify a number of the challenges that laser illuminated projection has brought to the fore.

LIGHTSTEERING TECHNOLOGY

Having been installed in to Cineworld Leicester Square (London), we take a look at HDR by Barco and also gain insights in to early consumer feedback.

REMOTE PROJECTIONISTS

Can an outsourced service provide cinemas with the opportunity to manage operations off-site whilst reducing the need for in-house technical staff?

COME TOGETHER

Mark Mayfield from Meyer Sound makes the case for self-powered loud speakers in terms of ease of deployment, reliability and cinema design.

RIDING THE ROLLERCOASTER

Omdia's David Hancock takes a look at the Chinese cinema market and identifies some of the complexities that exist.

EMPOWERING WOMEN IN CINEMA ENGINEERING

We talk to three women who have successfully charted careers in cinema engineering to learn about the challenges and indeed opportunities.

CTC UPDATE

WORDS: RICHARD MITCHELL, PRESIDENT, CTC

Enhancing skills in exhibition

Education remains at the heart of what CTC does. With a large number of professionals joining the industry over the past few years, particularly in the exhibition sector, sharing knowledge and expertise has never been more important. As the industry has rebooted, many new entrants to the industry have sought CTC to provide technological guidance and learning and with many exhibitors seeking our support to help provide fundamental education to their teams, we’ve responded by commissioning two new initiatives.

We’ve recently launched a new online audio series entitled “Things You Need To Know” available freely via the CTC web site. This new series of short podcast episodes between two and five minutes in length are designed to help those coming to our industry to understand some of the acronyms and technology points often discussed and provide a starting point for further learning. And whilst this is initially available in English, we’re working to localise this content to support our global members where English is not the first language.

Stepping beyond this, we’re gearing up to provide a revised version of our presentation excellence course in early summer which focuses around providing those in exhibition with a deeper understanding of what it takes to successfully showcase movies in cinemas.

We’ve worked closely with exhibitors to curate a course to plug some of the knowledge gaps that they have identified including the use of TMS’.

Transitioning to a true Community

And whilst we want to ensure we’re supporting new entrants to our amazing industry, we recognise the need to continue to support our members as a whole. Since 2017, CTCs has created a highly engaged and dynamic online community which we believe has provided unique educational, technical and support materials for our global members.

Over the years we have studied the interactions our members and indeed our nonmembers have with our deliverables including our web site and sought to find ways to make our community even more valuable. The lessons we learned through the pandemic and subsequently have been about the requirement to create better learning and communication platforms and more efficient ways to share knowledge and expertise. Up until now, we’ve shared our insights by producing a range of industry-leading outputs ranging from white papers, video content, training courses, podcasts and online events, many available exclusively through the CTC web site and latterly through the acquisition of this publication

more than two years ago. Whilst the team has garnered feedback on these deliverables, they’re more reactive rather than proactive.

As we head toward a more settled and hopefully more prosperous norm, we recognise that the industry continues to experience significant change. Our vision for CTC has always been one of an organic, thriving and growing community, one where its members lift each other up through knowledge-sharing. We see CTC as a collaborative environment where we all learn together so that we create better outcomes not just for the industry but better movie-going experiences for cinema lovers around the world. So in reviewing not just our extensive body of work but also our incredible growth which has seen CTC become the largest cinema technology trade organisation over the past seven and a half years with members in nearly ninety countries, the leadership team identified the need to enhance membership engagement so that it is less onedirectional. Whilst traditionally, trade bodies have been the voice and its members are the ears, we want our community to be one where, yes CTC is a voice (and perhaps the loudest), but a community full of voices – your voices.

We want our global members to engage with each other, not just at our networking events or indeed other industry events but to seek out the guidance, knowledge and expertise not just from

MEMBERS BLOG

our team but from peers who share the same passion for cinematic excellence and to do that with the convenience that technology affords us.

So as CTC approaches the remarkable 1,000 member mark, the team has recently launched a series of initiatives aimed at driving up the community aspect of CTC and fostering a dynamic, multi-way communication channel which we hope will enhance member engagement and collaboration within the cinema community.

Community Talk

This brand new CTC Members-Only forum provides a dedicated space for professionals to exchange ideas, seek advice, and discuss industry trends within the confines of the members area of the CTC web site.

Securely restricted from the public, only approved CTC members can participate in discussions, share content and hopefully build

meaningful connections with other members helping to contribute to a more vibrant and supportive professional network.

Similar to a Facebook group, CTC members signed up to Community Talk can share photos, videos and documents to support their guidance or ideas. And whilst the CTC leadership team will be an active part of Community Talk, this is as much about our members having a platform to talk to each other about all things cinematic, from technology challenges and planned investments through upcoming releases and new innovations that they’re excited about.

CTC EXECUTIVE TEAM

RICHARD MITCHELL (PRESIDENT), GRAHAM LODGE (VICE PRESIDENT), JOSEPH BOUTROS, MIKE BRADBURY, SANDIE CAFFELLE, CHRIS CONNETT, MARK KENDALL, PETER KNIGHT, ADAM MACDONALD, SAUL MAHONEY, JENNIFER MORGAN, ANDRE MORT, MARKUS OVERATH, LOYS PHILIBERT, DAVID POPE, TONI PURVIS, ULF QVICKLUND, SIMON TANDY, KRISTINA WARNER, PAUL WILLMOTT.

CTC ADVISORY COUNCIL

MARK CHRISTIANSEN (PARAMOUNT PICTURES), BRIAN CLAYPOOL (CHRISTIE DIGITAL), JOHN DOWSLAND, THERESA ENGLISH (TK ARCHITECTS), MARK DE QUERVAIN (ACTION MARKETING WORKS), JAN RASMUSSEN (NORDISK FILM), DOMINIC SIMMONS (BFI), ALICE TENTORI (DIGIMA), JULIA VINOKUROVA (REALD).

Complementing the Community Talk initiative, we’ve also launched our new CTC Members Blog. Designed for our members to share more structured and longer form content, the blog offers content from members and industry experts, including short articles, case studies, and thought leadership pieces.

Curated by the CT Magazine editorial team, this new platform not only allows members to share their thoughts and insights with the community but helps to keep members and indeed nonmembers informed about the latest developments within the industry. Our aim is for the blog to be complementary to the magazine so where interesting topics arise in the blog, we’ll aim to expand these out and publish them in to full length features in CT Magazine making this publication even more community-oriented. it’s essential for our members to have access to tools that help foster collaboration and continuous learning.

The integration of Community Talk and the Members Blog is designed to create a cohesive community experience. Members can discuss blog content in the forum, suggest topics for future articles, and collaborate on projects, fostering a sense of ownership and active participation in developing the CTC community.

And these are just the first of two initiatives that we hope will enhance our community. As always we want to hear from you, our members on ways we can maximise the value of CTC so if you have any suggestions on things that would be of use, please do reach out to us by emailing info@ cinema-technology.com.

IMIS VIEW

WORDS: DAVID POPE, PRESIDENT, IMIS

Celebrating Innovation

This quarter promises exciting new partnerships, a vibrant awards season, and countless opportunities to drive creativity forward

As we step into 2025, the International Moving Image Society (IMIS) remains committed to celebrating innovation, fostering connections, and championing excellence across the film and television industries.

We extend our heartfelt thoughts and support to those affected by the recent fires in Los Angeles, recognising the profound impact on communities and individuals.

This quarter promises exciting new partnerships, a vibrant awards season, and countless opportunities to drive creativity forward. In this edition, we spotlight key industry updates, celebrate notable achievements, and offer an exclusive preview of what lies ahead for IMIS members and the wider creative community.

Let’s make 2025 a year of inspiration and collaboration!

IMIS Student Showcase Event

Mark your calendars for Thursday, 29 May 2025, as we kick off IMIS events with an exciting Student & Member gathering! This event promises to be a fantastic opportunity to connect, learn, and celebrate the future of the moving image industry.

Building The Future: University Accreditations

We’re excited to announce that Roehampton University has earned its first-ever IMIS accreditation, marking a significant milestone in our partnership. At the same time, Bournemouth University continues its longstanding collaboration with us. These partnerships play a crucial role in shaping and supporting the next generation of industry leaders.

IMIS News

We’re excited to announce our collaboration with the Chalk+Chilli team, a dynamic content and marketing agency, bringing innovative ideas and strategic expertise to IMIS. This partnership represents a bold step forward in our mission to connect, inspire, and support the global moving image community. Together, we’re shaping an exciting future for creativity and collaboration!

2025 Awards Season

As we gear up for the 2025 BAFTA Film Awards, we’re thrilled to see productions linked to Pinewood Studios receiving multiple nominations. Notable films include The Apprentice (Pinewood Toronto Studios) with three nominations, including Leading Actor for Sebastian Stan, and Gladiator II (Shepperton Studios) with three nominations, including Outstanding British Film, showcase the exceptional work of cinema technologists behind the scenes.

Sebastian Stan (right) has been nominated for Leading Actor at this years BAFTA Film Awards

CT NEWS RE E L

UP-TO-DATE ROUND-UP OF THE GLOBAL INDUSTRY

Regal Cineworld inks global deal with cinema technology leader Barco to bring Laser by Barco to 4,000 screens by 2030

REGAL CINEWORLD GROUP, THE WORLD’S second-largest cinema chain, and Barco, the leader in laser-powered cinema solutions, announced a new initiative to install 4,000 Barco Series 4 laser projectors in theatres across the United States, United Kingdom, and other European markets by 2030. This significant move aims to enhance the moviegoing experience for tens of millions of guests globally with the upgrade to laser delivering elevated movie presentation, image quality, operations, and environmental efficiencies for Regal Cineworld.

Regal Cineworld is leveraging an integrated tech stack for the global rollout that includes a Barco Series 4 projector and Barco media server for each installation. With the comprehensive Barco cinema technology system onboard, the exhibitor will enjoy enhanced fleet management and operations with seamless system integration and projector parts commonality. The deal also includes operator training benefits and real-time insights with Barco’s connectivity solution to support operational efficiency. All sites will be marketed as featuring Barco’s laser projection to highlight the upgraded cinema experience to moviegoers.

“Through our commitment to provide the latest and most innovative technologies in our theatres, we are excited to expand our partnership with Barco through access to their state-of-the-art laser projectors, providing the best visual

experience for our guests,” said Eduardo Acuna, CEO of Regal Cineworld Group. “We continue to invest in our theatres with the overall goal of creating and delivering the best moviegoing experience for our guests.”

The award-winning Barco Series 4 laser projection family brings improved picture contrast, more vivid colour, and industry-leading image brightness and light levels. Regal Cineworld’s

wide move to laser also offers a more environmentally friendly way to present movies with less waste, including the elimination of consumables such as xenon lamps and a significant reduction in energy usage. “We are excited to expand our relationship with Regal Cineworld and bring Laser by Barco to more moviegoers around the world,” said Gerwin Damberg, EVP of Barco Cinema. “Today’s audiences have high

CINETRAIN JOINS HIGHROCK TO ELEVATE EMPLOYEE TRAINING AND LEADERSHIP DEVELOPMENT IN THE CINEMA INDUSTRY

CineTRAIN, the leading employee training and onboarding platform for the cinema industry, has been acquired by HighRock through the purchase of Exploring Potential Solutions LLC, a Michigan-based marketing and training agency. This acquisition strengthens CineTRAIN’s ability to support theaters nationwide with innovative tools for employee engagement and customer satisfaction.

CineTRAIN, developed under the leadership of Brett King, has transformed how theaters train their teams, reducing turnover, improving retention, and enhancing guest experiences. Now part of HighRock’s expanding portfolio, CineTRAIN will benefit from the agency’s creative and marketing expertise, offering theaters a powerful combination of training tools and branding strategies to elevate the moviegoing experience.

“CineTRAIN has always been about empowering theater employees to be the best ambassadors for their brand,” said Brett King, founder of Exploring Potential Solutions and now CEO of HighRock. “Joining HighRock allows us to deliver even greater value to cinemas by integrating innovative training solutions with exceptional marketing expertise. Together, we can help theaters thrive in a competitive industry.”

HighRock, a full-service marketing agency with 20 years of experience, has partnered with iconic brands like Amazon, Under Armour, Volvo, and Martin’s Potato Rolls. The acquisition of Exploring Potential Solutions and CineTRAIN reflects HighRock’s commitment to expanding its national footprint and delivering transformative solutions to the cinema industry, aligning employee training with compelling branding.

“CineTRAIN’s approach to employee training and leadership development aligns perfectly with HighRock’s mission to elevate brands through creative storytelling and measurable results,” said Rich Daughtridge, founding CEO of HighRock and now a strategic partner and owner. “This partnership allows us to deliver exceptional value to theaters by enhancing both operations and guest experiences.”

expectations for their entertainment experiences, and we look forward to delighting them with the stunning picture quality, high brightness, and crisp onscreen images that Barco laser projection is known for.”

“In 2024, our long-standing relationship with Regal Cineworld enjoyed a special milestone as together we premiered HDR by Barco to moviegoers in New York, Miami, and London. This deal further advances our shared ambition to deliver exceptional cinema experiences to global audiences,” adds Casey Collins, Barco VP Sales Cinema for North America.

Barco and Regal Cineworld have a nearly 20-year history, starting in 2007 with Barco’s Series 1 digital cinema projectors. The collaboration between the companies expanded this year with the inclusion of three Regal Cineworld locations in the inaugural exhibition of HDR by Barco, the technology company’s premium cinema HDR projection offering.

Through our commitment to provide the latest and most innovative technologies in our theatres, we are excited to expand our partnership with Barco through access to their state-of-the-art projectors, providing the best visual eperience for our guests.

EDUARDO ACUNA, CEO OF REGAL CINEWORLD GROUP.

UK cinemas continue recovery in 2024

LATEST FIGURES FROM THE CINEMA Advertising Association confirm that, despite the challenges presented by the impact of US strikes on the film slate, UK cinema admissions for 2024 finished up on 2023, heralding a remarkable recovery in the final months of the year. The Cinema Advertising Association has confirmed the final admissions figure for the year as 126,514,784, which is 2.3 per cent up on the previous year. While the first half of the year enjoyed strong performances from titles such as Dune: Part Two, the ongoing impact of the previous Autumn’s strikes undoubtedly saw fewer major films released, and it was only in the Summer months that admissions truly started to pick up, with Inside Out 2, Deadpool & Wolverine, and Despicable Me 4 in particular enjoying major success. However, despite this positive news, the UK sector still entered the final two months of the year 7 per cent adrift on admissions at the same point in 2023, with much ground to be made up. The releases of Paddington in Peru, Gladiator 2, Wicked, Moana 2, Mufasa: The Lion King, and Sonic the Hedgehog 3 during that period confirmed the long-held belief that when the films are there, audiences will return.

While November admissions were up 77 per cent on the same month in 2023, December saw 15,679,232 admissions, up almost 36 per cent on the previous year, making it the biggest cinema-going month of the year. While modest, the overall increase in admissions of 2.3 per cent on 2023 saw the UK sector out-perform not just the US but also all other major European film territories. Welcoming these latest figures, Iain Jacob, Chair of the cross-industry body Cinema First, said:

“Cinema retains a unique position in the hearts of the public, combining a unique social experience with sheer joy and escapism. When great films are combined with all of the investments we have seen in the modern cinema environment, audiences follow their passion for a fantastic trip out.

In November and December alone, audiences were up by over 52 per cent.”

South Korea’s CGV unveils World’s first four-sided ScreenX theater

CGV, SOUTH KOREA’S BIGGEST MOVIE theater chain, has launched the world’s first foursided ScreenX theater. This new format builds on the existing ScreenX technology, which uses screens on the front and both side walls, by adding a screen on the ceiling. The 200-seat theater also features fully reclining chairs and a Dolby Atmos surround sound system for an upgraded viewing experience.

On January 23rd 2025, CGV Yongsan I’Park Mall held a preview screening of the concert film “IU CONCERT: The Winning,” which officially opened the following day. During the film, IU’s performance on the main screen was paired with a stunning drone show above the audience and fireworks displayed on the ceiling screen.

The four-sided setup makes viewers feel like

they’re inside a concert hall. However, there are some downsides. The ceiling screen has lower resolution compared to the main screen, and visible fixtures like ventilation systems can break the immersion. Oh Yoon-dong, a Chief Content Officer at CJ 4DPLEX, a CGV subsidiary, said the company plans to upgrade the ceiling projectors later this year. He added, “Currently, it’s best to focus on the main screen while letting the side and ceiling screens enhance the overall experience.”

ScreenX, first developed in 2013 by CGV and KAIST (Korea Advanced Institute of Science and Technology), is a technology that extends a movie onto the side walls for a panoramic, three-screen experience. Today, there are 423 ScreenX theaters in 46 countries.

Despite last year’s downturn in the global movie industry, ScreenX theaters earned $94 million at the box office in 2024, setting a record high. Hits like “Dune: Part Two” contributed to this success, as 17 of the year’s top 20 films were released in ScreenX format. CJ 4DPLEX plans to increase its investment in ScreenX-specific content by joining film productions early on and handling 50% of the visual effects (VFX) in-house. Oh also revealed that they are in talks to release five Hollywood movies in ScreenX format this year.

The first film in the four-sided ScreenX theater is a 13-minute short called “Unexpected Journey.” This interactive movie lets viewers scan QR codes on the screen to enjoy augmented reality (AR) content on their phones and take pictures.

DCDC Announces Rebates to Exhibitor & Content Partners

DIGITAL CINEMA DISTRIBUTION COALITION (DCDC) ANNOUNCED that it will once again pay rebates to all customers based on their continued use and support of the DCDC network. DCDC first issued rebates in 2020, and again in 2022, fulfilling the promise made to all of its customers as an industry coalition to pay out any surplus cash to users of the network. DCDC is responsible for revolutionising theatrical digital delivery services across the country, moving the industry standard away from physical hard drives to encrypted digital files delivered via satellite and terrestrial distribution technologies. The industry owned coalition recently announced their renewed partnership with Deluxe and EchoStar, underscoring their shared vision to enhance connectivity, streamline content distribution, and eliminate the use of physical hard drives (HDDs) across the United States. Howard Kiedaisch, CEO of DCDC, said: “We are extremely pleased to be able to issue our third rebate in less than five years! This exemplifies our mission as a true partnership between our exhibition and content partners. It also underscores the continued advancements in technology, combined with the high use of the network that allows for the economies of scale we have been able to achieve.”

The pioneering North American theatrical content distribution company, launched in October 2013, continues to grow, with over 3,120 sites and more than 33,300 screens in the network across the U.S. DCDC’s live theatrical footprint has surpassed 1,320 sites with a wide variety of events including Q&As, concerts, sporting events, and more. The DCDC Network has successfully delivered thousands of films, events, trailers, and special content to theaters across the USA.

D-BOX TECHNOLOGIES EXPERIENCE EXPANDING IN ARGENTINA

D-BOX Technologies, a world leader in haptic and immersive entertainment, is pleased to announce it is increasing its in-theater presence through an expansion of its relationship with Cinemark Argentina and Hoyts Argentina, together one of the largest and most influential theatrical exhibition companies in the world. Together, they will bring D-BOX’s immersive haptic seats to more than 14 new auditoriums bringing the total to 32, reinforcing D-BOX’s growing presence in the Latin American market while underscoring moviegoer demand for premium cinematic experiences. With this expansion, moviegoers in the Argentina market will have even more opportunities to experience D-BOX’s high-fidelity haptic technology, which synchronizes

movements, vibrations, and textures with the on-screen action for an immersive and dynamic viewing experience.

“We’re thrilled to expand our partnership with Cinemark Argentina and Hoyts Argentina and to see that our haptic seats continue to be a key offering for attracting moviegoers and generating additional revenue for them,” said Sébastien Mailhot, President & CEO of D-BOX. “They understand the power of immersion, and their investment speaks volumes about the

continuously growing demand for premium experiences.”

Martin Alvarez Morales, General Manager at Cinemark Argentina and Hoyts Argentina added: “We are always looking for ways to offer our guests unique and engaging experiences, and D-BOX’s haptic technology has been a proven differentiator for us. Expanding our D-BOX footprint allows us to elevate our premium offerings and bring an even greater level of immersion to our audiences.” This latest expansion marks another milestone in D-BOX’s commitment to enhancing theatrical entertainment worldwide and delivering unforgettable experiences. By integrating its cutting-edge haptic technology into more locations, D-BOX continues to redefine how audiences engage with films, offering a deeper, more immersive connection with the on-screen action.

Harkness Screens Launches IndustryFirst Engineered 2d/3d Screen For Laser Projection.

HARKNESS Screens, one of the world’s premium cinema technology companies, unveiled its brand new fifth generation 2D/3D screen technology, Hugo SR at CinemaCon 2024.

with laser projectors in mind. With in-built characteristics that reduce visible speckle and improve contrast, Hugo SR provides exhibitors with a means to fully utilise laser projection technology creating even more compelling and captivating movie presentations,” explains Laurent Espitalier, CTO at Harkness Screens.

Arts Alliance Media Appoint Alan Bowen as Chief Executive Officer

The result of more than five years of research and development alongside projector manufacturers, educational institutes, global exhibition and the Hollywood community, Hugo SR has been designed to support and leverage the benefits of all types of laser projection including RGB. “Over the past few years we have seen the laser projection install base grow significantly across the globe. Whilst laser projection has so many tangible benefits, our customers, wider exhibitors and partners have turned to us to provide a dedicated screen solution that can enable them to leverage the benefits of this new technology to its fullest including, higher contrast, HDR (high dynamic range) and WCG (wide colour gamut). Hugo SR, is the first engineered screen designed specifically

ARTS ALLIANCE MEDIA (AAM), THE GLOBAL leader in digital cinema software and support services, recently announced the appointment of Alan Bowen as its new Chief Executive Officer (CEO) with immediate effect. Since joining AAM in 2019, Bowen has played a pivotal role in the company’s evolution, holding key positions including Chief Financial Officer (CFO) and Chief Operating Officer (COO). With over 30 years of executive management experience in the finance, entertainment, and technology sectors, operating in both B2C and B2B markets, Bowen has a demonstrated history of enhancing operational efficiency, fostering economic growth, and driving strategic business initiatives for leading organisations across Europe and the U.S.

“I am honoured to take on the role of CEO as

SPECKLE REDUCTION TECHNOLOGY

we usher in a new era at Arts Alliance Media,” said Alan Bowen. “AAM’s esteemed legacy, unwavering commitment to innovation, and exceptional team make it one of the most dynamic, forward-thinking companies in the industry, and I am delighted to lead the next phase of our journey.

I look forward to empowering the exhibition community with unrivalled solutions that enhance theatre operations and elevate the moviegoing experience.”

Laser speckle, most visible with RGB projectors (but also present, although less visible with other projection technologies) has been a concern for exhibitors looking to leverage laser projection. Hugo SR has been engineered to significantly reduce visible speckle by up to 30% compared to traditional high gain silver and white screen surfaces. The unique properties of Hugo SR allow exhibitors to deploy higher gain surfaces alongside RGB projectors without the requirement for expensive transducers whilst creating a level of assurance that laser speckle will not interfere with the viewing experience for the majority of moviegoers in the auditorium.

As CEO, Bowen will remain steadfast in his mission to accelerate business growth, enhance customer satisfaction, and strengthen the company’s ability to further shape the industry’s future.

SUPERIOR OPTICAL ENGINEERING

help to improve contrast by up to 15% compared to traditional silver and white screens creating more vivid colours with blacker blacks and whiter whites. Although a polarised 3D screen, the underlying technologies create a truly whiter surface which looks more similar to Harkness’ industry leading white gain (Perlux HiWhite) screens on axis. This optically whiter surface helps to diffuse visible hot-spotting and create the appearance of a more uniform finish from centre to edge.

commitment to serving their global customer base, AAM will continue to provide powerful and progressive cinema solutions under Bowen’s leadership, including theatre and hardware management software, APIs and cloud services, and hardware devices such as HeyLED, underlining its position as the go-to technology provider for exhibitors worldwide.

Abiding by their core company values; empowerment, passion, innovation, and

The unique surface coating properties of Hugo SR

“We’re excited to begin the roll-out of Hugo SR technology around the world,” explains Mark Ashcroft, CEO at Harkness Screens. “Hugo SR creates a new technology platform for Harkness and a new industry standard for laser screens. At Harkness, we continue to invest in research and development teams and are already working with our suppliers and partners developing further 2D and 3D screen technologies that already show signs of being able to virtually eliminate visible speckle whilst retaining the gain profiles exhibitors require in order to financially manage their shift from xenon-based projectors to laser. We feel we’re on the cusp of something transformational for the entire industry” he concludes.

Showtime Analytics Announce Agreement With Balkans Largest Chain Blitz-CineStar

SHOWTIME ANALYTICS RECENTLY ANNOUNCED AN agreement with leading Balkans multiplex chain BlitzCineStar, to provide them with a real time operational data and digital marketing platform across their 28 sites.

Blitz-CineStar, founded in 2003, is the leading cinema operator in Croatia and the region, spanning Croatia, Bosnia and Herzegovina, Serbia and Kosovo. Featuring 182 state-of-the-art halls, including IMAX, 4DX, Screen X and Gold Class, CineStar sets the standard for cutting-edge technology and premium cinema experiences. Recognised for innovation and quality, it has earned numerous awards, including “Best Cinema in Europe” by UNIC in 2019, and continues to deliver exceptional entertainment to over 4.5 million visitors annually.

With their commitment to delivering an unparalleled theatre experience to their customer base, Blitz-CineStar wanted to use their first-party data to help them understand how their business was performing across the metrics that mattered to them, and use this data to drive customer engagement and loyalty. They reached out to Showtime Analytics to evaluate how their cloud platform could help them do this.

By migrating from their existing email marketing tool and integrating their customer data to Showtime Engage, it will allow them to bring individual customer behaviors, touch points and purchase activity together to create a single view of their identifiable movie-goers. Having all this information about their different customers and their shared behaviours, it will give them the ability to create and send targeted, personalised digital campaigns to different segments, driving customer engagement and loyalty. With the closed loop integration with their POS this will allow them to track conversions and revenue uplift from each campaign, putting them in better control of where to focus their marketing efforts.

Mrs Jadranka Islamovic, CEO CineStar Cinemas said of the partnership:

“As the best and largest cinema in our region with more than 22 years of operation, CineStar has become a synonym for cinema in our territory. We have a duty to provide each of our visitors with the best value for money through superior service and satisfaction, and to always provide the best and largest selection of films, in technologically superior halls and the most comfortable seats, the always constant quality of CineStar Cinemas. The values on which we base our long-term success are quality, service, trust, innovation and understanding of the needs of our visitors. We hope that with Showtime Analytics, we will now understand our visitors even better, all to improve our relationships with customers, their loyalty and ultimately increase visits.”

really enjoy each new territory. Each one is so different, they work differently, films release differently. So it’s always exciting for me to learn something new.

My main expansion into the role has been to take on some bigger picture business, hopefully relieving some stress from my boss.

CT: How have your previous experiences prepared you for your new role?

I think because I’ve been so lucky to have had a varied career. From being on the studio side to growing in the tech side. I feel i understand the pain points that my customers face. Because I faced them.

I’ll end on two pieces of advice I was given when I started, and I love to share them as I believe they are so invaluable.

Qube Wire to become the World’s largest electronic content delivery network to cinemas

CT: How have your previous experiences prepared you for your new role?

CT: As the newest member of the CTC board, what are you looking forward to most?

Oh my gosh, the community. Sharing knowledge between this group of incredible people across the globe. Looking for better ways to work together that can help anyone. I hope I can bring something valuable to the table.

QUBE WIRE CINEMA, A LEADING PROVIDER of end-to-end digital cinema technology solutions, has signed a definitive agreement to acquire a 100% stake in MetaMedia (MMT Tech, Inc). MetaMedia is North America’s largest cloud-based content delivery platform to cinemas. With this acquisition, Qube Wire becomes the world’s largest cinema electronic delivery network with over 5,000 cinemas connected across 51 countries. In the United States, the merged network will provide coverage to 9 of the top 10 largest cinema chains. Qube will continue to execute MetaMedia’s existing deployment plans and service its customer agreements.

“The acquisition of MetaMedia is a huge move for Qube’s North American operations,” said Harsh Rohatgi, CEO of Qube Cinema. “MetaMedia’s

“...Sharing knowledge between this group of incredible people across the globe. Looking for better ways to work together that can help anyone. I hope I can bring something valuable to the table.“

CT: What’s your favourite aspect of working in the cinema industry?

The cinemas of course! I love to visit my favourite places in town. I love to escape into a film, melt away any stress. It’s the best fun, even when I watch a horror. If you’ve ever sat next to me during a horror, you’ll know how ridiculous I am.

innovative network has consistently delivered faster, more cost-effective solutions for content delivery, saving millions compared to traditional methods. At Qube, we’ve leveraged this technology to bring Indian feature films to North American cinemas with speed and precision, expanding the size and number of Indian releases by 3x in the last five years. With the addition of MetaMedia, our combined strengths will set a new standard in cinema content delivery for many more distributors and create unparalleled value for the global movie industry.”

Pick your battles… don’t die on your sword. A few years into my role at Warner Bros, I had just started taking over trailer negotiations. During a back-and-forth with one of my exhibitor friends over placement for a release that barely had any admissions, he said, “Pick your battles.” I understood immediately, and it resonated with me.

CT: What advice would you give to someone considering a career in this field?

For nearly four decades, Qube Cinema has been a trailblazer in the global filmmaking and exhibition industries. Qube is one of a handful of companies in the world that has developed a DCI-certified digital cinema server. With a team of about 1,000 employees

I’ve kept this in mind in everything I do ever since.

Don’t burn any bridges. This industry is still quite small, and we all rely on the relationships we build. You never know what will happen, so it’s never worth burning those bridges down.

Ultimately, the connections you make and the experiences you gain can lead to incredible opportunities, so definitely embrace every moment and every interaction!

who are passionate about the domain, Qube continues to revolutionize cinema exhibition and distribution with cutting-edge, reliable, and costeffective solutions. With technology to service the world’s greatest content creators and exhibitors, Qube continues to introduce innovations to the cinema ecosystem that are reshaping the cinematic experience for audiences worldwide. Qube Wire has been growing consistently since launching as a global cloud-based distribution platform in early 2017. Today, Qube Wire powers the supply chain for many major content distributors, including all the major Hollywood studios. Qube Wire also delivers over 95% of all the Indian movies released around the world. With its regional partnerships and automated hard drive duplication hubs, Qube Wire provides

content delivery services to cinemas in 135 countries around the world. Notably, Qube Wire has enabled a substantial increase in the box office of Indian movies in the United States. Indian movies are often finished only days before their release, which makes Qube Wire’s fast and efficient cloud-based distribution system essential to meet nearly impossible delivery deadlines. Hollywood studios are noticing how the broadband-based delivery model embraced by MetaMedia and Qube Wire is a substantial improvement on existing satellite and hard drive fulfillment methods predominantly used in the United States. Qube’s office in Los Angeles has a large, robust, and secure hard drive replication and shipping operation. This office will provide hard drive delivery to cinemas that are not yet connected to the electronic delivery network, as well as automatic hard drive remediation in the event of network interruptions to the connected cinemas.

Qube Wire also provides KDM management for many of its customers. Last year, Qube issued more than 2.3 million KDMs to theatres in North America. Qube has a large, well-maintained global Trusted Device List (TDL), and distributors and exhibitors have a dedicated team of more than 30 people available 24×7 to resolve issues as they arise. Mark Waterston, Executive Vice President, Qube Wire, commented “MetaMedia has been a trusted delivery partner of Qube Wire for a long time, and I have consistently been impressed by their team. I am excited to see

MetaMedia has been a trusted delivery partner of Qube Wire for a long time, and I have consistently been impressed by their team.

MARK WATERSTON, EXECUTIVE VICE PRESIDENT, QUBE WIRE

how our combined group can assist the distribution and exhibition communities here in the United States.” MetaMedia Founder and Chief Executive Officer Jason Brenek said, “Each year since MetaMedia’s launch in 2020, we have expanded the size of our North American network and increased the volume of premium recorded and live content delivered to cinemas. MetaMedia’s acquisition by trusted entertainment industry leader Qube is the next logical step in our evolution. With global operations in every region around the world, Qube brings global scale and stability, end-to-end technology solutions for the digital cinema ecosystem, unparalleled in-house engineering, and support teams with deep expertise in video, audio, and technology across content production, postproduction, and distribution. We look forward to joining the Qube corporate family and continuing to support our valued studio and cinema partners.”

POST PRODUCTION PART ONE

Much of what goes on prior to a movie arriving in cinemas is a mystery and the complexity surrounding the post production process is often underappreciated. In this brand new multi-part series, CT Magazine gains insights from an expert on the challenges, learnings and opportunities.

WORDS:ANDY QUESTED, INTERNATIONAL PRODUCTION AND ACCESSIBLE MEDIA STANDARDS CONSULTANT

It’s a long time since I first entered the VT areas in the basement of BBC’s Television Centre which is now a rather nice Soho House gym! Unrecognisable for its former role and I could say, just as unrecognisable as the role itself - post production! If you look at the post journey from the beginning of film cutting to the famous Steenbeck in the early 1930’s and still in use today, to NAB 1956 and the demonstration by Ampex of the first VTR, not much has changed. The workflows became more efficient but the fundamental steps would be

recognisable by the first film makers. Then came NAB 1988 and Avid’s first demo! From that point on, post workflows started the transition from a step-bystep process to the totally virtual AI driven commodity processing we are beginning to see today – and the changes are still accelerating.

To start this series of articles, I thought a run through of some of the changes that I have experienced and been involved in during my time working in post would be interesting and shine a little light on where we are now and where we seem

ITU-R BT.2524 (ANDY QUESTED)

to be heading. Some of these recollections have already been documented as around 2016/17, I was asked if I would join Annie Chang (then Marvel) in writing the post production section of a book that became “The Media Workflow Puzzle” in 2021. Also around this time I became chair of the Working Party in the International Telecommunications Union (ITU) that produces standards for programme production. These include BT.601, digital television - awarded an Emmy in 1983, BT.701, HDTV, BS.1770, loudness - awarded an Emmy in 2012 and one I was

involved in from its inception in 2012 to collecting the Emmy in 2023, BT.2100 HDR-TV! I was also a contributor too and the editor of the ITU Report BT.2524 “A framework for the future of programme production”.

Enough of the background, so what do we mean by post-production and how is it evolving?

Wikipedia notes that “post-production includes all stages of production occurring after shooting or recording individual program segments.” In The Media Puzzle that comment is expanded to “…the

processes that occur after initial (or principal) photography and on-set sound recording”. Or in other words, if “Physical production is typically limited to acquiring the sound and picture plus references for visual effects, post-production encompasses everything that happens after that, all the way through to the finished product”. This encompasses all content types no matter how delivered and reproduced - cinema, broadcast TV, streaming… Being a visual person, I think it’s easier to explain workflows with a diagram so below is a

real workflow from a TV programme that went through post-production between 2002-2005. Simple isn’t it? Don’t try to read all the boxes but if you do look closely, you can see most of the workflow is taken up by processes that don’t contribute to the story, they are multiple transfers between linear based formats or transfers to and from different video standards or the marrying and re-recording of sound and pictures into different programme versions – the actual storytelling takes place in the two little dark pink boxes.

HDCam 25P

Communication Is Key!

Many of the non-story telling processes required expensive equipment and expert operators which also meant (from the Media Puzzle) “Traditionally, the tasks during the post-production processes were clearly delineated with little cross over between the roles” or silos as we often call them

now. One thing I learnt from Annie who deals with major cinematic workflows is - with the added complexity of large theatrical productions, problems occur when the project manager fails to communicate to the different companies involved or (and more often) the different companies fail to listen to the project manager or inform about

potential delays. For anyone who’s been involved in construction from a small extension to a large house, you know about planning and communication.

The figure below shows just how complex the communication can be! Primarily, it’s all about timing.

THE MEDIA WORKFLOW PUZZLE (ROUTLEDGE - ANNIE CHANG)

To give an example of how miscommunication can easily occur, when say VFE misinterprets the delivery deadlines of Editorial (editing). The VFX designers complete to the deadline of the editorial department for a screening but fail to inform them that although it’s completed to the

brief on time, the screening copy still requires 100s of hours to render! Sometimes it was amazing that anything pops out at the end of the process. But things are changing. The 20022005 workflow has gone (I hope) for good, along with the need to manually transfer all material to a

ITU-R BT.2524 (ANDY QUESTED)

There are no conversion or format changes until the final deliverables were created and many of the processes are automated (but not AI driven). The large Cloud block is fundamentally just a big store but it does have some processing to create viewing copies and proxies as or if needed. It also exports to an “insurance vault” that maintains a copy of all the original or new material. This is not a backup and it may not even be accessible to the production. Its role is a guarantee to financial backers who may have made large advance payments. These backers will want access to the originals should the production company fold before delivery and this does (very occasionally)

happen! What this workflow shows is the transition stage between the linear workflow that could be said to have been around since the beginning of film editing at the turn of the century before last and the workflows beginning to emerge now. If we believe this thing called “cloud processing” will take over we also should recognise some of its vulnerabilities. Just as a padlock on a cutting room door wouldn’t keep out a determined fan from taking a screen grab of the new Doctor Who (if it had been film cut), a firewall and password won’t stop the same fan with the relevant skills, from hacking the cloud store. The trouble is that while it might be difficult to lift the whole programme or

different format for viewing or video standard for editing and finishing. The next diagram is the overview of a workflow from 2017-2019 for a very similar style large TV series except this time it was UHD 3840 x 2160 HDR with a Dolby Atmos soundtrack option.

movie from the cutting room, once a hacker is in, all the content is vulnerable and it’s not just fans –movies are prime targets for ransom hackers or some who just want to bring down an expensive or high-profile TV programme or movie. In true episodic mode, this is a good place to stick a commercial break or add the “next time…” preview! This is the first of three brain dumps, so next time – how will we thwart the hackers? Will business systems replace post workflow? How can I reduce terabytes of storage to gigabytes without compression? And as a season finale, predictions for the future (always a dangerous thing to do!) including of course – AI!

About Tim

AHEAD OF CINEMACON 2025, CT MAGAZINE CAUGHT UP WITH ONE OF THE MOST SUCCESSFUL EXECUTIVES IN MODERN CINEMA EXHIBITION, TIM WARNER. IN A GLITTERING CAREER THAT STARTED AT THE TENDER AGE OF 11 SWEEPING THE LOBBY OF A LOCAL CINEMA IN MONTANA, TIM WARNER, THE FORMER CEO OF CINEMARK CRAFTED AN ENTIRE CAREER IN THE CINEMA INDUSTRY.

IN THIS EXCLUSIVE INTERVIEW, WE LOOK BACK ON TIM’S TIME AT CINEMARK INCLUDING HIS ACHIEVEMENTS AS COO AND CEO AND GAIN HIS INCREDIBLE PERSPECTIVES ON THE CHALLENGES AND INDEED THE OPPORTUNITIES OUR INDUSTRY FACES IN THE COMING YEARS.

INTERVIEW WITH... TIM WARNER

You oversaw the expansion of Cinemark during a golden period in cinema which coincided with a groundbreaking technology change in digitisation. What were your learnings from that period?

I was blessed to have a very long and successful career in our industry at several levels, engaged in day to day cinema operations and as the head of one of our leading Trade Associations, NATO of California/Nevada and General Chairman of Showest, now CinemaCon convention.

From my experience, our industry has been very resistant to embracing new technologies and change in general. With digitisation, fortunately, we were able to overcome some of this resistance because the basic technology, film, was too costly and unsustainable. The industry, as we know it today, simply would not exist if we did not embrace digital. It transformed our industry allowing us to adapt new sound systems, satellite delivery, live performances, 3D, motion seats, remote monitoring to ensure quality performance, the creation of private label PLF platforms, targeted marketing, enhanced customer engagement and many more innovations.

One of the biggest barriers in adoption of new technologies is the economic challenge of the adoption, in essence, who pays for it and who benefits from it. Digital projection technology existed before it came to cinema. The industry challenge was to create the economic model to deploy it. Satellite delivery of information existed for information transfer for years before the industry embraced the economic model to deploy it once we got to digital.What really struck me and resonates today is the importance that we work together as an industry, studios, creative communities,

exhibitors and suppliers to collectively embrace technology changes for the betterment of our industry, I can't stress that enough! The other challenge in adapting new technologies is to have the right team in place to implement the technology to be user friendly and improve the customers overall experience. At Cinemark, we had one of the best technology teams in the industry lead by Damian Wardle and Doug Fay, who not only understood the technology but the importance of deploying it in such a manner it made the company more productive, profitable and enhanced the customers’s experience.

Expansion for Cinemark wasn’t just organic growth but also through the acquisition of circuits such as Rave Cinemas and Century Theatres. How did your team manage that expansion and integration of different exhibitors whilst trying to harmonise the theatrical experience across the estate?

One of the main challenges you face in doing acquisitions is to get your team to recognise this is a great opportunity to learn something to improve your operations and to improve the overall quality of your team by retaining the best people for whatever job. You cannot assume, automatically, as the acquiring company, that you have the best people or the best ideas. I would encourage my team to observe and listen because the company you are acquiring maybe is doing something’s better. Many of the innovations we introduced at Cinemark were generated from acquisitions and led by personnel that joined the company through acquisitions.

During your tenure as COO and CEO, the business was never shy when it came to innovation. In fact Cinemark was one of the first exhibitors to experiment with luxury seating. How did you foster that innovation and create the space for your team to do so cautiously?

Cinemark was an industry leader in customer service, quality and innovation. The founder of Cinemark, Lee Roy Mitchell’s background was as as entrepreneur and he is well known for his creative approach, innovation and support for trying new concepts. In introducing new technologies, the focus was on enhancing the customer experience and engagement, improving productivity and efficiency of operations, and expansion of the financial margin performance of the company.

It is good to be cautious in introducing new technologies. It is important that management understands the implications and benefits of the technology and has the right team in place to deploy it. You want the introduction of new technologies to be productive not disruptive.

Looking back, what were the biggest operational and technological challenges you faced and what kept you up at night?

It is important that management understands the implications and benefits of the technology and has the right team in place to deploy it.

The pandemic was a wake up call not only for movie theaters but for entire industries. It called into question the importance of sound business financial structure to enable you to survive marketplace shocks. When you look at the overall retail industry, although it has been a struggle, exhibition in general managed through the pandemic, with some casualties, but overall survived.

In order to make our industry sustainable, it was critical that we got to digital projection and satellite delivery. Digital projection allowed the introduction and adaptation of other beneficial technologies. Satellite delivery lowered distribution cost for the studios, but more important for exhibitors it allowed one point access to their theatres screens and expansion of creative content that could now be deployed into theatres enabiling theaters to become entertainment centres for their communities.

Since your retirement, the industry has undergone profound change, much of it caused by the pandemic. What are you key takeaways from the way the industry has responded to that changing landscape and how can we change for the better?

They still face a major challenge in building back and growing attendance which has always been the number one driver of the industry. In addition to digital and satellite delivery being essential transformation for the industry, the third big challenge that exhibition faced, it is even a bigger factor today, the cost of marketing a film or creative content to go over the theatrical platform. This has and will continue to be a barrier for creative content to access the theatrical platform until the industry addresses this major issue.

The technology exists and has existed for years to address the issue. The industry needs to come together to create a tool, perhaps an app, similar to the various interfaces of streaming sites that can be embedded in to existing theatre operations. The tool will provide marketing access to unique moviegoers, featuring content that is or will be available exclusively in movie theatres.

It will require exhibition and the studios to create a business model similar to DCDC to maintain and service the tool. Each group will need to provide access to their unique customers and marketing assets until the tool eventually develops its following. The app, if that is what it becomes would feature content going exclusively into theatres and would be available, at a minimal cost to content providers, simply to maintain the platform, to the distributor to advertise and promote their film to this unique audience of potential movie patrons.

Once they decided on the creative content, they would simply put in their area code, choose their theatre and buy the ticket. Just like we did with digital and satellite, we need to adapt this marketing and ticketing technology as an industry and not just as individual theatres companies and studios. More creative content, effective targeted lower cost marketing, ease of access for the consumer is going to be the key to driving more attendance to theatres. The cost of marketing to the platform is a major barrier.

This is another example of breaking down an industry barrier which will benefit both exhibition and distribution by adapting technology that already exist in the market.

With so many technology based experiences now available to consumers be that things such as VR or Cosm or the Sphere, what can cinema do differently to ensure it’s still an attractive proposition?

The advantage that cinema has and will always have over other technologies is “the shared experience.”

It is important to note that that “shared experience” needs to be a good high quality experience. Today’s customers have a very high standard of what is acceptable and expected. Theatres need to meet those customer expectations if they are going to continue to be successful. Adapting to those customers’ expectations will be required whether it is reclining seats, large format experience, motion seats, food service, high quality sound and presentation.

Attendance at movie theatres is one of the last proletariat things we do as a society. People of all ages, nationalities, economic backgrounds come together for the “shared experience.” That “shared experience” expands our world view and understanding of each other.

Change in our industry will continue and this is a good thing. The theatres I started my career or operated initially pretty much no longer exist. Today, we have a much improved version and it is important we keep focusing on the future and not the past.

There is talk of a lost generation of cinemagoers. If that’s a reality, how can we inspire them back to the cinema and what can exhibition do to drive that?

The exhibition industry took a major hit with the pandemic in attendance and audiences pattern of

behaviour. Exhibition will need to be innovative and creative to get its audience back. The pandemic not only interrupted at an operational level but it was very disruptive from a creative production level. General retail and developments have suffered and are still in the recovery mode. Movie theatres need to be a key part and driver of that recovery.

The industry has launched several initiatives to bring the audiences back and those initiatives need to be expanded. Throughout my career, I was a big advocate of “kid shows” or children matinees. I would argue with the studios the importance of getting them into the movie going habit early.

Exhibition and distribution need to work together on this key issue. It’s essential to maintain movie going as a habit or a pattern for the next generation. We need to work to get them back.

As we look to the future, what do you see as the biggest challenges?

The biggest challenge the industry faces now and will continue to face in the future, until they address it, is the marketing cost for creative content to go over the theatrical platform.

Despite the challenges last year in relation to content, there is an abundance of film and creative content available from the studios and other sources but the marketing cost of the platform limits the creative content that can access it. The technology solution is available but will require the studios and exhibitors to come together to create an industry solution. No one studio or exhibitor can solve the overall issue. It needs to be addressed by the industry. There will be other innovations which will be introduced to the industry. However, from my perspective, the number one reason people go to the movie theatres is to experience film or other creative content.

Attendance has always been the number one driver and measurement of success in the exhibition industry. It is referred to as the “butts in seats” concept. Exhibition, as an industry, needs to focus of how they increase their occupancy and attendance. This has always been the issue and will continue to be the issue.

How do you drive more use of your theatre?

The answer is simple but challenging. You need more attendance and a bigger spend from those who do attend. Content will always be the driver.

SPOTLIGHT ON D’PLACE ENTERTAINMENT

D’Place Entertainment started in September 2016, after founder Damon Rubio ended a successful 15-year run as Executive Vice President of Operations for UltraStar Cinemas. His departure occurred as the current ownership of Ultrastar was downsizing, and the time was right to start up a new regional chain focused on bringing great, modern movie-going and entertainment experiences to underserved markets.

WORDS: SANDIE CAFFELLE, GOVERNOR, CTC.

D’Place Entertainment is, at its heart, a theater exhibition company. However, they have a clear understanding that today’s movie-goer is looking for, much more than just a seat in a dark auditorium. Damon and his team strive to create venues with atmosphere, amenities, quality food and beverage options, and most of all, a unique experience to share with friends and family. That is why D’Place continues to look at and deploy other complementary entertainment experiences in their venues.

Examples are: redemption games, VR and AR attractions, and they soon hope to be able to add in bowling, escape rooms, laser tag, and other attractions that make sense in their venues to help increase the time the guests spend at their locations and the number of times they visit in a year. D’Place currently operate six locations in California. These include the Fox Cineplex in Banning, the Minaret Cinemas in Mammoth Lakes, Barstow Station Cinemas, Jackson Cinemas in

Jackson, the River Village Cinemas in North County of San Diego and their flagship location, the Mary Pickford Theater in the Palm Springs Market.

Most of the locations are acquisitions of older small-town theaters that have been serving their communities for many years but were providing a movie-going experience that felt like it was from the 80’s or 90’s rather than what today’s consumer is looking for.

The goal has been to renovate these locations, adding upgrades and amenities such as recliners, D-Box, their Cinema Café Concept, Beer and Wine service, and other technology familiar to big city markets but not yet deployed in small towns, such as a Loyalty Club, online ticketing, and reserved seating. Covid and the aftermath of the writers strike were unexpected challenges that delayed some of the plans they made with respect to renovating locations, but with an optimistic view to the future, the end of 2024 and the start of 2025 have had them finishing up renovations and

improvements at their remaining locations that needed some updates. In addition to mainstream movies, D’Place has also focused on programming diverse content to its screens that these smaller markets had not previously had access to. Partnering with many of the Event Cinema companies and with a number of the delivery vendors to provide both live and pre-packaged events, they exhibit a whole host of events in their markets, from Sporting to Faith and Inspiration, Anime, Concerts, and Film Tours that serve the differing interests in their diverse communities.

Damon says:

"One of our latest ventures has seen us working with AUTODCP to create an easy way for independent as well as first time filmmakers and many of the small local Film Festivals we work with to easily traffic and deliver us DCP’s of their films to our locations for us to play.

Our company’s focus is to create and make

Below; the iconic Mary Pickford Theater situated in the heart of Cathedral City, California.

Damon Rubio, Founder, D'Place Entertainment.

our locations “D’Place” of choice for the community to enjoy their entertainment experience. We strive to create locations that appeal to a broad demographic in our communities. We believe in offering multiple compelling movie-going experiences combined with great food and beverage options while maintaining the highest levels of guest service that our patrons will want to enjoy time and time again."

“Our most recent investment at our Mary Pickford Theater was the addition of ScreenX to serve as our PLF draw for the location.

We deployed ScreenX in May 2024 with Furiosa and have been excited to see our Guests’ reaction and adoption of this unique and impactful experience. The deployment of a PLF and the ability to offer an exciting premium format has allowed us to recapture market share in a very competitive market on tent pole pictures, where our performance had been soft prior to the deployment of ScreenX,” Damon explains.

The Mary Pickford also has two auditoriums equipped with a few rows of D-Box motion seats. D’Place were early adopters and remain firm believers in the D-Box experience. They continue to be very happy with the attendance and ticket uplift that D-Box creates on a large slate of movies that they play and believe that this fits into their strategy of providing different compelling experiences for those looking for it all in one place, D’Place.

What makes the Mary Pickford even more impressive is its giant solar array installed in 2018 as part of a drive to reduce its carbon footprint.

In sun soaked California, the cinema was the first to adopt solar at scale. A combined 1,560 modules across the roof of the building and over the parking structure combine to generate an incredible 620,000 watts of DC, creating more than 1,000 kW/hr storage. At the time, this made the Mary Pickford Theater the largest privately owned commercial solar energy with battery storage plant in the USA.

Prior to the installation of the solar array, D'Place also replaced the HVAC systems with more energy efficient systems which netted an annual saving estimated to be nearly $50,000 each year - an impressive saving given that

"We strive to create locations that appeal to a broad demographic in our communities."

temperatures in Catherdral City can reach more than 45C in the summer months. Combining the HVAC system along with the giant solar array, D'Place has been able to realise enormous savings in energy costs estimated to be more than $230,000 per annum.

One of D’Place’s biggest successes in recent years has been the rollout of its Popcorn Card program. Wanting to bring value to its guests and encourage frequency of visits, D’Place started offering a Popcorn Card that allows the cardholder to get a FREE regular-size popcorn once per day for the entire year. Cards go on sale in January for the current price of $37.95 and are good until December 31st of that year. Only a limited number of these cards are printed each year, and once sold out, that is it for the year. Redemption and use of the card is very strong throughout the year, with many locations even commonly seeing guests stop by on their way home to pick up a FREE popcorn to go.

“At first, it sounds counterintuitive to give away so much free popcorn, but because we offer the guests the option to upgrade their “free” popcorn to larger sizes and because once a guest has made the upfront commitment, they tend to visit us more through the year in order to get their money worth. We found the program actually provides us an incredible ROI and helps to build a loyal following of guest who appreciate a simple straight forward deal they can understand,” Damon explains.

One of the great things about operating in small towns is the lack of other theaters and entertainment options available to the community, which is not to say that D’Place takes it for granted that their sites will be successful no matter what. Quite the opposite! Damon and his team recognise that consumers still have streaming and other inhome entertainment options available and that people are more willing to stay at home and enjoy if they do not feel they have better alternatives available to them. Damon explains that “when we do our job right and provide a space that is

comfortable, modern, affordable, and provides value to the community, the appreciation, loyalty, and support for our venue becomes very apparent. We become a central hub and catalyst for a common experience in our towns. In addition to showing movies and event cinema, we have become the go-to space to host many events ranging from lectures, birthday parties, comedy nights, live music, and, yes, even a wedding in one of our locations.”

One new initiative for 2025 that D’Place is working on is to roll out a subscription service. Considering all the challenges in the industry and the economics of exhibition changing, but also understanding that our small-town markets have a strong connection with their local cinema, D’Place is positioning itself with a new offering more as a Supporters Club in order to allow our guests to have the opportunity to receive value over time while at the same time helping to keep the cinema’s ever-important cash flow more predictable and less susceptible to the volatility of film product that can be felt in small population areas.

Want to learn more about D'Place's giant solar array at Mark Pickford? Simply hover over the QR code.

With 3D likely to make a resurgent impact on cinema box office in 2025 with a string of releases culminating in the third instalment of James Cameron's Avatar franchise (Fire and Ice), CT Magazine explores what the future might look like, and how it might resolve one of the biggest barriers to greater consumer adoption of 3D, the requirement for eye-wear, by looking back at various technological attempts over to find solutions to the perennial problem and some of the modern solutions emerging.

WORDS: PETER KNIGHT, COMMISSIONING EDITOR, CT MAGAZINE.

Cinema has always promised to whisk viewers into other worlds, whether it be a distant planet, a mythical kingdom, or a defining moment of history. Over the decades, an array of techniques such as widescreen formats, surround sound, ultra-high-resolution imagery, and high frame rates have been deployed to heighten this sense of immersion. Yet one innovation that seems to rise and fall more often than most is 3D. Why does the initial spark of wonder with 3D seem to always fade over time, each time this technology resurfaces? It could be argued that one reason for this cyclical history is the requirement to utilise eyewear. From the old red-and-blue (anaglyph) lenses of the 1950s to modern polarised or active-shutter glasses, many audiences have repeatedly cited these add-ons as uncomfortable or off-putting. Whilst headaches and dimmed images are often cited as problems

with 3D presentations (mainly down to light levels and poor presentation quality), the perceived hassle of managing eyewear often overshadow the thrill of added depth. Hence the enduring fascination with a system that demands no extra equipment: glasses-free 3D, scientifically known as autostereoscopy. This article ventures across a century of striving for that perfect, unhindered stereoscopic experience. We will discuss how early silent films like The Power of Love (1922) laid the groundwork for 3D, how Soviet innovators in the 1940s successfully pulled off large-scale glasses-free screenings, and how modern researchers and advertisers (including 3Rock Global and Digital Cinema Media) still aim to make immersive 3D an everyday reality—minus eyewear. Along the way, it becomes clear that while the dream is as old as cinema itself, the tools for fulfilling it might finally be here.

A Glimpse into 3D’s Silent Beginnings

Well before the roar of talkies revolutionised the silver screen, inventors were already thinking in three dimensions.

One of the earliest demonstrations of a fulllength 3D feature came in 1922 with The Power of Love. This silent film employed dual-strip projection and anaglyph (red-and-green) glasses—an approach that was groundbreaking, if somewhat unrefined by modern standards. Audiences were briefly enthralled by the illusion of depth, but the technique was costly, cumbersome, and limited in fidelity.

Even so, it planted the seed: viewers clearly craved the sense of stepping into a movie’s world. Little did they know that wearing glasses to do so would remain a sticking point for decades.

FROM 1950S BOOMS TO DIGITAL RESURGENCE AND BEYOND

In the 1950s, 3D underwent its first major surge in popularity, propelled by titles like Bwana Devil (1952) and House of Wax (1953). The novelty factor drew big crowds, many of whom donned anaglyph or polarised glasses for the first time. Yet the required equipment was anything but user-friendly, and the cost of specialised cameras, projectors and eyewear soon weighed heavily on cinemas. By decade’s end, 3D’s star had faded, leaving behind a reputation as more gimmick than game-changer.

THE 1970S–1980S: LINGERING EXPERIMENTS AND REHASHES

A couple of decades later, 3D appeared sporadically in the 1970s with ventures like Space-Vision 3D, which attempted to merge dual-strip projection into a single strip. Audiences still had to wear coloured or polarised glasses, and results were often inconsistent. During the 1980s, horror and adventure franchises sought to revive the format with Friday the 13th Part III (1982) and Jaws 3-D (1983). Though they generated brief excitement, the persistent drawbacks— glasses, dim images, and uneven presentation—remained.

THE LATE 1990S: IMAX 3D STEPS IN

Near the turn of the millennium, IMAX began showcasing a more polished 3D experience, largely for short documentaries and special-venue events. Enhanced polarisation and precise projection equipment reduced ghosting, while enormous screens made depth effects especially striking. Glasses were still mandatory, but in controlled IMAX environments, the overall experience won over audiences—a sign that 3D could succeed if executed to a high standard.

THE MODERN ROLLERCOASTER OF 3D:

2009–2010: AVATAR AND THE DIGITAL 3D REVOLUTION

Modern 3D truly caught fire in the mid to late 2000s, with the likes of Chicken Little and The Nightmare Before Christmas paving the way for the worldwide success of James Cameron’s Avatar (2009). Showcasing lavish digital effects and an otherworldly environment, Avatar became a global phenomenon, prompting studios and cinemas alike to embrace digital projection. By the early 2010s, 3D releases of everything from action adventures to animated family blockbusters were commonplace. Higher ticket prices boosted revenue, and many predicted that 3D—glasses or not— was now firmly entrenched.

The Pursuit of 3D Freedom

Across each wave of popularity, one desire stands out: to enjoy the depth of 3D without wearing glasses. Over time, major 3D booms have foundered on this very point. Cinemas face the logistical costs of cleaning, storing, or disposing of glasses; home users find them inconvenient. As digital projection technology advanced, it became natural to wonder if the solution lay in letting the screen itself manage the left-eye/right-eye split. This is where autostereoscopy—glasses-free 3D—enters the conversation. By embedding directional image controls into the display surface, viewers might perceive true depth simply by sitting in front of the screen, with no accessories required.

What Is Autostereoscopy?

In essence, autostereoscopy refers to any setup that produces a stereoscopic effect (where each eye sees a slightly different view) without specialised headwear. The display—or projector— handles the separation of left/right images, approximating natural binocular vision. This promises an end to the complaints about 3D glasses, but it introduces new engineering hurdles:

MODERN ROLLERCOASTER OF 3D:

THE HOME MARKET: 3D TVS AND BLU-RAY

Spurred by cinema’s 3D revival, electronics giants such as Sony, Samsung, and LG rolled out 3D TV sets, sometimes bundled with 3D-capable Blu-ray players. Broadcasters like Sky (UK) and ESPN (US) followed with dedicated 3D channels. Yet for home use, the excitement didn’t last for a number of reasons:

Glasses Requirement: Even at home, the need for active-shutter or polarised glasses felt cumbersome for casual use. Families often had to buy multiple pairs, keep them charged, and tolerate tinted or flickering effects.

Sparse Content: Beyond a handful of marquee sporting events and some 3D Blu-rays, there wasn’t enough ongoing 3D programming.

Consumer Fatigue: The premium price of these TVs failed to justify a feature that most found under-utilised.

By the mid-2010s, many manufacturers quietly phased out 3D features from new models, pivoting to 4K, HDR, and eventually 8K displays. Sky 3D and ESPN 3D channels shut down, citing low viewer engagement.

Narrow Viewing Zones: Most autostereoscopic setups create “sweet spots” where 3D works best. Brightness and Resolution Loss: Methods like parallax barriers or lenticular lenses can dim the image or split available pixels among multiple angles.

Yet the allure is obvious: a cinema or home scenario in which viewers need only take a seat to enjoy 3D. Interestingly, the basic concept is not new; as we’ll see, it goes back nearly a century.

A Century of Experimentation

Long before electronics, innovators toyed with lenticular prints in postcards and novelty items. Rows of tiny cylindrical lenses allowed the images to shift or appear 3D when tilted. Though fun at small scale, such designs were impractical for large screens, largely due to limited resolution and high manufacturing costs. These postcards did, however, show the allure of 3D without glasses, setting the stage for future breakthroughs.

Dr Barry G. Blundell’s White Paper: A Closer Look at 20th-Century Glasses-Free 3D: A key resource on early autostereoscopic cinema is Dr

Barry G. Blundell’s white paper, “On Aspects of Glasses-Free 3D Cinema ~70 Years Ago.” His research showcased how scientists in Russia, Belgium, and France conducted large-scale demonstrations of glasses-free 3D long before

many realised it was possible. According to Dr Blundell, Moscow boasted a cinema that displayed glasses-free 3D on a 5m x 3m screen, courtesy of Semyon Pavlovich Ivanov and his team. They used a radial raster barrier, featuring thin, spoke-like slits that funnelled separate images to each eye. Astoundingly, 500,000 people are said to have attended these screenings in just four months before World War II intervened. By 1947, a radial lenticular screen arrived in Moscow, further spreading to cities like Leningrad, Kiev, and Odessa.

KEY EUROPEAN INNOVATORS

Beyond Ivanov, Dr Blundell highlighted three pivotal figures:

1

PROFESSOR EDMOND NOAILLON (BELGIUM, 1920S–1930S)

PIONEERED RADIAL RASTER BARRIERS AND MECHANICAL OSCILLATING BARRIERS, WHERE THE BARRIER ITSELF MOVED TO REFINE IMAGE SEPARATION.

THOUGH MECHANICALLY INTRICATE, THESE EXPERIMENTS SHOWED HOW BARRIERBASED SYSTEMS MIGHT SCALE BEYOND MERE NOVELTIES.

2

FRANÇOIS SAVOYE (FRANCE, 1930S–1940S)

DEVELOPED THE CYCLOSTEREOSCOPE, ANOTHER EARLY AUTOSTEREOSCOPIC DEVICE.

DEMONSTRATED TO FRENCH AUDIENCES THAT GLASSES-FREE 3D COULD SURPASS POSTCARD-SCALE ILLUSIONS.

3

DENNIS GABOR (HUNGARY/UK, 1940S)

BEST KNOWN FOR FOUNDING HOLOGRAPHY, GABOR ALSO EXPLORED STEREOSCOPIC PROJECTION WITHOUT GLASSES.

HIS EARLY PATENTS HINTED AT VOLUMETRIC DISPLAY PRINCIPLES LATER REFINED IN HOLOGRAPHIC RESEARCH

Lessons for Modern Autostereoscopic Systems

Dr Blundell’s paper concluded that large-scale glasses-free 3D wasn’t just a futuristic dream. If 1940s Moscow could attract huge crowds with radial barriers, then today’s high-resolution displays and digital image processing should, at least theoretically, overcome similar obstacles more efficiently. The old headaches of narrow angles, dimness, and mechanical complexity still stand, but researchers now wield far superior tools.

Modern Approaches to Glasses-Free 3D

Parallax

Barriers

One common approach is the parallax barrier, used by devices like the Nintendo 3DS. A layer of slits sits in front of the screen, allowing each eye only certain pixels. While workable for handheld gaming, scaling this up to a cinema auditorium— where viewers sit at varying angles and distances— remains a major hurdle.

Lenticular Lens Arrays

Others focus on lenticular lenses, using micro-lens arrays to send multiple “views” into the audience. The challenge intensifies with large screens, as each lens must precisely direct light to different seats without sacrificing resolution or brightness.

Radial Raster and Digital Advancements

Some developers revisit 1940s-style radial barriers but marry them to real-time image processing. In theory, advanced computing could calibrate displays on the fly, adjusting for different seat positions. This is still largely experimental, but it demonstrates how combining mid-century ideas with cutting-edge technology might yield workable solutions.

The Nintendo 3DS Example

Launched to great fanfare, the Nintendo 3DS stands out as a rare mass-market success for glasses-free 3D. Yet it exposed the inherent fragility of parallax barriers: shift the console even a bit, and the effect collapses. Later models improved matters with head-tracking cameras but remained tied to single-user scenarios. That design, while ingenious, offers limited insights for large cinemas.

Current Landscape: Why Glasses-Free 3D Is Not Mainstream Yet

Viewing Angles and “Sweet Spots”

No matter the approach, glasses-free systems often impose narrow zones where 3D looks right. Covering a large auditorium with seats at varying angles and distances magnifies this problem. A single misalignment can produce ghosting or double images, undermining the immersive effect.

Resolution and Brightness Trade-Offs

When multiple “views” must be displayed, the total resolution effectively splits among them. A 4K screen divided into eight viewpoints offers around 500 lines per viewpoint. Similarly, lens or barrier layers can reduce brightness by blocking or redirecting light. Today’s cinemagoers expect crisp, luminous imagery, so any major compromise may meet resistance.

High Costs and Complex Production Pipelines

Switching from standard 2D or glasses-based 3D to autostereoscopy requires specialised hardware (whether LED walls or advanced projection systems) and new production workflows to generate additional viewpoints. Film studios would need to weigh these costs against the uncertain return of an unproven format.

Content Creation Challenges

Most 3D features target a basic left-eye/right-eye pair. Autostereoscopic cinema might demand multiple discrete perspectives. This complicates on-set camera setups, CGI rendering, and postproduction—further raising costs and deterring widespread investment.

James Cameron’s Vision of the Future

James Cameron, following Avatar’s success, predicted a future of 4K resolution, HDR, 120 fps, and ultimately glasses-free 3D. His sequel, Avatar: The Way of Water, did not showcase that final leap, suggesting technology still needs time to mature. However, Cameron’s influence underscores how major directors might adopt bold display methods once they are stable and cost-effective. High frame rates slash motion blur, HDR offers richer colours, and advanced autostereoscopic techniques (or holograms) could deliver unprecedented immersion.

THE PROMISE OF LED DISPLAYS FOR GLASSES-FREE 3D

Despite cinema’s longstanding reliance on projection technology, some see LED-based displays as a potential game-changer for large-scale, glasses-free 3D.

Already common in premium digital signage, direct-view LED screens can be adapted for cinematic use, potentially sidestepping problems that plague traditional setups.

BRIGHTNESS AND COLOUR PERFORMANCE

Parallax barriers or lenticular lenses inevitably cause some light loss. LED walls, however, offer high peak brightness and vibrant colours to offset dimming. If multiple images must be displayed simultaneously for different viewing zones, LED’s sheer light output can help maintain clarity.

MODULAR AND HIGH-RESOLUTION

LED cinema displays are typically modular, assembled from smaller tiles or panels. This allows for massive, high-resolution screens that can handle multi-view content. The ability to reach or exceed 4K or 8K pixel counts—even when subdividing views—makes LED an attractive candidate for autostereoscopic technology.

POTENTIAL FOR REAL-TIME ADJUSTMENT & HEAD-TRACKING

Since LED panels work like giant computer screens, they can integrate seamlessly with AIdriven viewpoint tracking. Each section of the display might deliver slightly different images to various angles, recalibrating instantly based on audience positioning. While still experimental, this approach could radically expand the “sweet spots.”

NEW

POSSIBILITIES BEYOND TRADITIONAL PROJECTION

Conventional cinema projectors—laser, xenon, or dual-lens 3D—remain a cornerstone of theatrical exhibition, offering proven dependability. However, integrating autostereoscopic elements into projection can be challenging due to light-path alignment and beam geometry.

LED cinema screens (like Samsung’s Onyx) adopt a direct-view model, removing the need to shine images across the auditorium. This frees engineers to embed autostereoscopic overlays directly into (or onto) the LED structure, potentially easing alignment hurdles and broadening the viewing angle for a more uniform 3D effect. That said, projector manufacturers continue to innovate, meaning both projection and LED could eventually support next-generation glasses-free 3D.

COST AND PRACTICALITY HURDLES

High-end LED walls currently command steep price tags, and adapting them for autostereoscopic use involves advanced optical layers and precise calibration. For now, the technology remains a premium option. Yet if scaling up yields economies of scale, LED screens might lead the charge in delivering bright, spacious, glasses-free 3D experiences.

The “3D Effect” of High Resolution, HDR, and High Frame Rates

Ironically, ongoing advances in “2D” displays can approximate depth to an extent:

Sharper Detail and Greater Contrast: 4K/8K screens paired with HDR can make images so lifelike that they appear almost three-dimensional.

High Frame Rates (HFR): 48, 60, or 120 fps reduce motion blur, creating a “window-like” clarity. Directors such as Peter Jackson (The Hobbit) and Christopher Nolan have commented on the enhanced immersion.

Impact on Glasses-Free 3D: Such refinements may reduce the perceived need for 3D, yet they could also raise viewer expectations, making any actual 3D—glasses or not—feel comparatively more dramatic.

Implications for Blockbuster Filmmaking

Significant innovations in cinema often hinge on visionary directors or large studios with the budget to experiment. Glasses-free 3D—or some future holographic variant—could redefine blockbusters if it proved stable and cost-effective. Yet 3D’s history counsels caution: the public’s excitement has waned before. If glasses-based 3D never fully won hearts, will a pricier autostereoscopic system fare better?

3D in Advertising: Leading the Way with Glasses-Free Formats

The Emergence of Anamorphic Billboards

Meanwhile, advertisers have shown little hesitation in adopting 3D illusions. Anamorphic 3D billboards, using giant LED screens and perspective tricks, have appeared worldwide. While not strictly autostereoscopic (they rely on

vantage-point illusions), they illustrate how eyecatching 3D can be when no glasses are required.

3Rock Global and DCM Partnership (2024)

In 2024, Digital Cinema Media (DCM) collaborated with 3Rock Global to bring anamorphic 3D ads to cinema screens—a “media first.” Though primarily short-form marketing content, this rollout demonstrated how a glasses-free 3D illusion can thrill audiences before a feature even starts.

How 3Rock Global Creates Glasses-Free 3D on Any Screen

3Rock Global’s approach relies on anamorphic distortion and proprietary software, turning flat surfaces into windows of depth. Though it doesn’t split images for left/right eyes like true stereo, the dramatic effect often goes viral when passersby share videos online. This success suggests that even partial illusions are potent enough to captivate viewers.

5x3

ACCORDING TO DR BLUNDELL, MOSCOW BOASTED A CINEMA THAT DISPLAYED GLASSES-FREE 3D ON A 5M X 3M SCREEN BEFORE THE 2ND WORLD WAR

500k

THEY USED A RADIAL RASTER BARRIER, FEATURING THIN, SPOKE-LIKE SLITS THAT FUNNELLED SEPARATE IMAGES TO EACH EYE. ASTOUNDINGLY, 500,000 PEOPLE ARE SAID TO HAVE ATTENDED THESE SCREENINGS IN JUST FOUR MONTHS BEFORE WORLD WAR II INTERVENED.

Audience Engagement and Commercial Potential

Advertising tends to lead adoption of new display technology because of its shorter form and need to dazzle. Glasses-free illusions fit that model perfectly. If ongoing refinements make these illusions more consistent, it may not be long before storytellers experiment with them for major set pieces or theme-park style “event” showings.

Final Thoughts

From silent-era experiments such as The Power of Love to 1940s radial raster spectacles in Moscow and today’s LED-driven illusions on billboard screens, glasses-free 3D has remained a captivating goal for over a century. The cyclical nature of 3D’s popularity, however, calls for a dose of realism. Each technological leap introduces new solutions and new complications. Yet with advanced optics, real-time computation, and promising LED or holographic research, the longtime vision of an immersive, no-glasses 3D future may be closer than ever. Whether it arrives in five years, ten years, or remains “just over the horizon,” the appeal of seeing worlds “leap off the screen” without extra eyewear guarantees that researchers, filmmakers, and exhibitors will keep pushing the envelope. Only time will tell if this next generation of 3D truly takes hold, or if we’ll see yet another cycle of excitement and retreat but it will

MORE INFO ultimately come down to three key factors the creation of compelling content, technical feasibility and scalability and ultimately consumer demand

THE WORLD GOES TO THE MOVIES. THE MOVIE WORLD GOES TO CINEMACON.

The Official Convention of

BARCO AT 90

For 90 years, Barco has shaped the entertainment experience, from early projection to cutting-edge digital technology. We explore Barco’s journey from radio manufacturing to cinema innovation and how its latest HDR Lightsteering technology is transforming the future of movie projection.

WORDS: PETER KNIGHT, COMMISSIONING EDITOR, CT MAGAZINE.

When people think of cinema technology in 2025, Barco is likely to be among the first names that come to mind. Celebrating its 90th anniversary in late 2024, the Belgian-based tech giant remains one of the most influential forces in digital projection. Its history is a tapestry of technical breakthroughs, from early consumer radio sets to pioneering colour TV for European markets, and eventually to the development of cutting-edge digital cinema projectors. The company’s timeline is intricately woven with the evolution of the modern cinema

BARCO: 90 YEARS OF INNOVATION TIMELINE

experience. While Barco is not alone in this market— Barco’s story is distinct in that it has always remained loyal to its European engineering roots while expanding into a truly global entity. At the centre of Barco’s current momentum is HDR by Barco, a revolutionary approach to High Dynamic Range cinema projection. Building upon the solid foundation of laser illumination, Barco has introduced the Lightsteering system—a way of dynamically

1934 THE BEGINNING LUCIEN DE PUYDT FOUNDS THE BELGIAN AMERICAN RADIO CORPORATION (BARCO) IN POPERINGE, BELGIUM, INITIALLY ASSEMBLING RADIOS FROM IMPORTED PARTS.

1949 ENTERING THE TV MARKET BARCO PIONEERS MULTISTANDARD TELEVISION SETS, CAPABLE OF RECEIVING BROADCASTS FROM DIFFERENT COUNTRIES.

controlling light on the screen to achieve startling levels of contrast, brightness, and colour fidelity.

Barco’s Early Foundations: Radios and Television

The Belgian American Radio Corporation, or Barco, was established in 1934 by Lucien De Puydt in Poperinge, Belgium. The original name hints at the company’s first line of business: assembling radios from parts imported from the United States. In the economic aftermath of the Great Depression, radios were becoming a household mainstay, and

1951 DIVERSIFYING WITH JUKEBOXES

THE BARCOBOX JUKEBOX IS LAUNCHED, BECOMING A MAJOR SUCCESS IN CAFES AND BARS ACROSS BELGIUM.

1962 A LEADER IN COLOUR TV

BARCO BECOMES THE FIRST TO DEVELOP MULTI-STANDARD COLOUR TELEVISIONS, ENSURING COMPATIBILITY WITH BOTH PAL & SECAM SYSTEMS.

From left to right, 1949 to today. From radios through to HDR by Barco at Cineworld Leicester Square (London).

Barco capitalised on the growing market with competitive pricing and reliable products. By the end of the 1930s, Barco had expanded to manufacture entire radio sets in-house. While many European electronics brands were either hyper-focused on local markets or struggling to remain solvent during economic turbulence, Barco’s strategy was to combine European craftsmanship with international supply chains. This blend of local quality and global ambition set the tone for the company’s future ventures. Barco’s leap into television technology occurred in the 1940s, an era when TV broadcasts were still in their infancy across Europe. The transition from radio to television was far from seamless for many companies, given that the technological demands for TV sets were substantially higher. Barco, however, applied its in-house expertise in electronics assembly and signal processing, becoming one of the first European manufacturers to produce multi-standard televisions capable of receiving broadcasts from various countries, each with different transmission standards. In the 1950s and 1960s, colour television began to take shape, but adoption in Europe lagged behind North America. Barco took this as an opportunity to position itself as a leader in colour broadcasting technology. The brand soon became synonymous with top-tier TV sets that were admired for their quality, reliability, and adaptability to multiple broadcast formats. By the 1970s, Barco saw the writing on the wall: the consumer electronics market was intensely competitive, and profit margins were shrinking. The company’s pivot toward professional audio-visual equipment— beginning with high-end monitors and later branching into large-format display systems—proved crucial. While still supplying parts of the consumer market, Barco increasingly devoted resources to developing imaging systems for other industries. This early move foreshadowed Barco’s eventual leap into cinema

DIGITAL TRANSITION

The shift from analogue film projection to digital in the early 2000s was revolutionary for the cinema industry. It transformed how films were distributed, screened, and preserved. Barco, already a respected name in high-resolution projection for professional environments, seized the opportunity to push digital cinema forward.

KEY MILESTONES INCLUDE:

DP50 DIGITAL CINEMA PROJECTOR: AMONG BARCO’S FIRST PROJECTORS DESIGNED EXPLICITLY FOR CINEMA, IT QUICKLY GAINED TRACTION WITH THEATRES AIMING TO MODERNISE AND REDUCE THE LOGISTICAL COMPLEXITY OF FILM REELS.

HIGH-END PARTNERSHIPS:

BARCO’S COLLABORATION WITH HOLLYWOOD STUDIOS, POST-PRODUCTION HOUSES, AND MAJOR CINEMA CHAINS HELPED FINE-TUNE THE SYSTEMS FOR REAL-WORLD APPLICATIONS. THIS COLLABORATIVE APPROACH ACCELERATED THE ADOPTION OF BARCO PROJECTORS IN MULTIPLEXES AROUND THE GLOBE.

LASER PROJECTION INNOVATION:

WHILE MANY MANUFACTURERS BEGAN EXPLORING LASER DIODES AS A LIGHT SOURCE, BARCO WAS ONE OF THE FIRST TO RELEASE COMMERCIAL RGB LASER PROJECTORS. LASER OFFERED IMPROVEMENTS IN BRIGHTNESS, CONTRAST, AND ENERGY EFFICIENCY, PROVIDING A GLIMPSE INTO WHAT THE FUTURE OF CINEMA MIGHT HOLD.

projection. The push away from consumer products toward niche, high-performance imaging systems gave Barco an R&D advantage. By the time digital cinema began to appear on the horizon, Barco was well-prepared to dominate the space.

Emergence in Projection: From CRT to Digital Cinema

In the late 1970s and early 1980s, Barco took what it had learned in television engineering and applied it to Cathode Ray Tube (CRT) projectors. These projectors became key components in flight simulators and training environments, where crisp resolution and reliability were paramount. Although cumbersome by modern standards, these CRT systems established Barco’s reputation for precision

engineering and robust build quality.

Concurrently, Barco’s CRT projectors found a niche in large-venue events—from concerts to corporate presentations—long before the advent of LCD or DLP projectors. The brand quickly became associated with high-brightness, stable imaging, and these strengths translated well when digital projection technologies emerged.

The Creation (and Reabsorption) of Cinionic

In 2018, seeking to highlight its dedicated cinema solutions, Barco initiated a spin-off entity named Cinionic. This brand specifically focused on premium cinema technology, aiming to market “Barco projectors” under a dedicated banner and emphasising the “cinema experience” rather than the broader array of Barco’s professional solutions. Cinionic represented Barco’s desire to provide a holistic service—not just hardware, but also support, maintenance, and integration into next-generation theatres. However, by 2023, Barco made the strategic decision to reintegrate Cinionic back under the main corporate umbrella. Reasons included the desire for a unified R&D pipeline and the recognition that “Barco” as a name carried significant weight in the cinema sector. The consolidation brought premium solutions back into Barco’s main line, simplifying operations and branding.

Barco Embraces HDR

While 4K and even 8K formats have garnered much press, resolution is part of the picture. Dynamic Range and contrast ratio can all play an important part in heightening the picture quality. High Dynamic Range (HDR) expands the range of brightness and colour that can be displayed, leading to more lifelike and immersive visuals. Scenes have deeper blacks, brighter whites, and nuanced mid-tones that bring out details invisible in standard dynamic range (SDR). 1979 THE MOVE INTO PROJECTION

BARCO DEVELOPS CRT PROJECTORS FOR AVIATION AND SIMULATION, MARKING ITS FIRST STEPS INTO HIGH-RESOLUTION IMAGING.

EMMY AWARD RECOGNITION

BARCO WINS ITS FIRST EMMY AWARD FOR CONTRIBUTIONS TO BROADCAST TELEVISION TECHNOLOGY.

1992 DIGITAL PROJECTION EVOLUTION

BARCO INTRODUCES THE LCD 5000 PROJECTOR, SETTING NEW STANDARDS FOR BRIGHTNESS AND RELIABILITY IN LARGE VENUES.

2002

THE DIGITAL CINEMA REVOLUTION BEGINS

LAUNCH OF THE DP50 DIGITAL CINEMA PROJECTOR, HELPING TO ACCELERATE THE GLOBAL SHIFT TO DIGITAL PROJECTION.

2014 PIONEERING LASER PROJECTION

BARCO INTRODUCES RGB LASER PROJECTION, REVOLUTIONISING CINEMA IMAGE QUALITY, BRIGHTNESS, AND SUSTAINABILITY.

For the cinema industry, however, HDR adoption lags behind the home market. Most HDR content has thus far been consumed on televisions that support HDR10, Dolby Vision, or similar standards. In commercial cinemas, implementing HDR is more technically complex—the large screen size and the need for uniform image quality for hundreds of seats demand enormous amounts of controlled light.

Barco was already a leader in RGB laser projection, a technology that uses discrete red, green, and blue laser sources. Laser projection not only ensures higher brightness than Xenon lamps but also expands the colour gamut, enabling more vibrant and accurate on-screen images. While laser dramatically improved projection quality, achieving true High Dynamic Range (HDR) in cinema required more than just high brightness—it demanded greater contrast control and precision light management.

Building upon its expertise in laser projection, Barco explored ways to enhance contrast and refine light output at a much more granular level. This led to the development of Lightsteering, a breakthrough approach that dynamically directs laser light within each frame, preserving deep blacks while maintaining intense highlights. The shift from simply using laser to actively shaping and steering it became the key innovation that set HDR by Barco apart from traditional projection technologies.

Bringing true HDR to the big screen required more than technical breakthroughs—it needed to meet the creative demands of filmmakers and cinematographers. From the outset, Barco worked closely with directors, post-production teams, and Hollywood studios, inviting them to experience early demonstrations of HDR by Barco. Their insights into peak brightness, perceived contrast, and colour fidelity played a crucial role in refining the final system, ensuring it remained faithful to directors’ artistic intent. This collaborative approach reinforced HDR by Barco as more than just a technological leap—it

2018

BIRTH OF CINIONIC

BARCO SPINS OFF ITS CINEMA DIVISION TO CREATE CINIONIC, FOCUSING ON PREMIUM LASER PROJECTION SOLUTIONS.

AWARDS & ACCOLADES

Barco’s dedication to technical excellence has garnered multiple prestigious accolades:

EMMY AWARDS: FOR KEY TECHNOLOGICAL CONTRIBUTIONS TO BROADCAST.

GUINNESS WORLD RECORD: FOR CREATING THE BRIGHTEST DIGITAL CINEMA PROJECTOR AT THE TIME.

ACADEMY AWARD (SCIENTIFIC & ENGINEERING): RECOGNISING BARCO’S PIONEERING WORK IN LASER PROJECTION SYSTEMS, AN HONOUR THAT PLACED BARCO IN THE VANGUARD OF CINEMA INNOVATION.

became a creative tool, giving filmmakers greater control over how their stories are visually told on the big screen. By bridging cutting-edge projection with artistic vision, Barco ensures that HDR technology enhances not just image quality, but storytelling itself. How does HDR by Barco achieve such precision? The answer lies in Lightsteering technology, a fundamental innovation that enables filmmakers’ visions to be realised with unprecedented accuracy.

A Vision for the Next Decade

Barco’s 90th anniversary is more than a commemorative milestone; it is a reflection on nearly a century of ingenuity, adaptability, and bold moves in technology. From its humble beginnings assembling radios in rural Belgium to the hi-tech realm of HDR digital cinema projection, Barco has consistently anticipated and propelled industry trends. Few companies can claim such a wide arc of transformation, moving from consumer electronics to professional display and simulation, and ultimately to cinema projection. Along the way, Barco’s name has become inseparable from quality imaging, garnering accolades like Emmy Awards and an Academy Award for technical achievement. While HDR remains central to Barco’s cinematic technology portfolio, the company continues to refine its projection systems to enhance image quality, energy efficiency, and operational reliability. The company has focused heavily on laser projection, which offers

increased brightness, improved colour fidelity, and reduced power consumption compared to traditional Xenon-based systems. Its latest developments in HDR by Barco with Lightsteering demonstrate a commitment to refining high-contrast projection that delivers more immersive cinematic experiences. Barco has also strengthened its global footprint, where demand for new cinema infrastructure continues to grow. The company has established regional offices and training centres to support local exhibitors, ensuring its projection solutions are effectively deployed and maintained. Its ongoing partnerships with cinema operators, filmmakers, and technology providers ensure that its solutions meet both technical and creative industry needs. Another key area of focus is sustainability. Barco has long prioritised energy-efficient projection solutions, reducing power consumption while maintaining highquality visual output. Cinema Technology Magazine previously highlighted Barco’s investment in longlasting laser light sources, recyclable materials, and lower power usage across its product line. As the industry moves toward more sustainable operations, Barco remains committed to minimising environmental impact while delivering state-of-the-art projection solutions. Ultimately, Barco’s journey has always been about pushing the boundaries of what’s possible in visual media. The next decade promises to continue that tradition, with new breakthroughs in projector performance, collaborations with creative professionals, and an unwavering dedication to improving the cinematic experience. With laser projection, HDR advancements, and sustainability initiatives shaping its next chapter, the company continues to push the boundaries of what is possible in cinema projection, ensuring that the big screen remains as captivating and immersive as ever.

2022

HDR LIGHTSTEERING UNVEILED

BARCO DEBUTS HDR LIGHTSTEERING AT THE ASIAN WORLD FILM FESTIVAL, SETTING A NEW BENCHMARK FOR HDR CINEMA PROJECTION.

2023

BARCO REACQUIRES CINIONIC

BARCO REINTEGRATES CINIONIC’S PREMIUM CINEMA SOLUTIONS, REAFFIRMING ITS COMMITMENT TO HIGH-END PROJECTION TECHNOLOGY.

2024

ACADEMY AWARD RECOGNITION

BARCO WINS A SCIENTIFIC & ENGINEERING AWARD FROM THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES FOR ITS RGB LASER PROJECTION TECHNOLOGY.

2024 HDR BY BARCO AT CINEWORLD LEICESTER SQUARE THE FIRST HDR BY BARCO INSTALLATION IN THE UK LAUNCHES AT CINEWORLD LEICESTER SQUARE, MARKING A MILESTONE IN CINEMA PROJECTION.

LASER ILLUMINATION IN CINEMAS PART 2

In part one, published in the Autumn / Winter issue of Cinema Technology Magazine, we identified that although the Digitisation of Cinema Exhibition was very carefully carried out with the best of intentions to preserve the very best quality, stability and fidelity to the original creation, technical changes in application can throw up unforeseen problems. In this second part we will outline some of the challenges arising.

WORDS: KOMMER KLEIJN AND PETER WILSON.

Contemporary

WE WILL DEVELOP THE FOLLOWING KEY ISSUES:

“BROKEN” D-CINEMA COLOUR SCIENCE (ILLUMINANT METAMERIC FAILURE) + C OBSERVER METAMERIC FAILURE DUE TO AGING OF THE HUMAN EYE LENSE LASER SPECKLE ARTEFACTS + B METAMERIC VARIATIONS AMONG INDIVIDUALS (OBSERVER METAMERIC FAILURE)D COLOUR FRINGING ARTEFACTSF CONTRAST PERFORMANCE OF LASER SOURCE PROJECTORS + G LASER CRISPINESS + ISSUES FOR WHICH

laser light source D-cinema DLP projector. Note the absence of a cooling exhaust hose.

A: “Broken” Colour Science (Illuminant metameric failure) (may be fixable)

Using a triple-monochrome RGB light source instead of a continuous spectrum light source apparently breaks the colour science that is in common use in the cinema industry. The colour science used in the cinema industry today is based on the CIE1931 standard observer and the subsequent mathematics. It seems, however, that this mathematics did not consider the possibility of triple-monochrome RGB light sources. I also note that in the year 1931, there probably were not that many laser light sources around! The practical problem that this causes is a perceptually different white point, even when the currently used colour science and measurement methods affirm that everything is set up correctly. The colour theory that is used to let us predict with certainty and precision what a human observer will see, does not seem to apply any more when a triple-monochrome light source is used. The currently used validation system or theory seems to be “broken”. A projector using triple RGB monochrome light sources can measure O.K. towards the SMPTE reference projector standard, and satisfy the criteria for being “DCI

compliant”, while it is actually rendering colour in a way a human perceives it differently than intended. In fact, this was exactly what the XYZ DCP standard was designed to avoid. If the currently applied colour science, based on the CIE1931 observer, and the XYZ DCP standard that is based on it, turn out to be "broken" when used with narrow bandwidth primaries, then maybe we need a new colour theory to make it work again? Possibly new colour science can solve this problem. However, that would imply a rewrite of the SMPTE DCP standard (and the DCI specification). That could then allow for a stable white point and a colour rendering independent of the light source type, including Xenon, UHP, all flavours of phosphor-laser and all flavours of RGB laser. However, rewriting the standards would require a considerable amount of work. Someone would need to step up and propose to start it. Barco has recently announced a solution called “Metameric Offset Correction (MOC)” . By applying a 3x3 correction matrix to the calibration values of the RGB laser projector, the perceptual differences are reduced, without the need to change the actual DCP standard.

It must be applauded that Barco is actively researching and working on this issue. This solution is at this time proposed for projectors in grading rooms. Theatre projectors are not (yet) mentioned. That may raise the question how the graded work will show on theatre projectors, if not so equipped, and on projectors made by other brands. And if the MOCmodified projector will still measure as conformant to the actual standards, given the “broken standard” issue . If not, this might restrict this solution to the grading room, until an industry standard for this correction method would be created and licensed. That may not be trivial either, but could be much easier than rewriting the actual DCP standards. So, I think that the Barco “MOC” system may eventually be a promising development, although it would alleviate only this first issue, the ones that follow below are not affected by it. The same would be true for the alternative and more rigorous path of rewriting the SMPTE standards using a more recent colour science than CIE 1931. If successful that would resolve this first issue (the white point issue) as well, but again wouldn’t solve the issues that follow.

1 Flavours: Triple-monochrome RGB laser light source projectors may use different wavelengths for primary colours depending on brand or model. Some use different RGB wavelength for the left and right eye in 3D projection. 2 https://www.cinionic.com/white-paper/advancing-colour-accuracy-in-cinema-postproduction/ 3 https://cinionic.com/direct-downloads/partners/documents/whitepapers/Barco_Metamerism.pdf 4 We then might on one hand have RGB laser projectors (without MOC) that measure conformally to the actual standards but look different, and on the other hand have projectors that look more conformant (using MOC) but then do not measure conformity to the actual standards… It looks like if “broken colour science” has resulted in having “broken standards”?

Prototype RGB laser source by Christie Digital demonstrated at the IBC big screen theatre in Amsterdam 2012. Installed just outside of the projection booth, the thin white cables visible above the door are glass fibers carrying the laser light from this light source towards the DLP projectors in the booth.

Installation of the first commercial BARCO 6P RGB laser projection system (next to the Xenon projector on the right) in Kinepolis Brussels, November 2014. The hoses on the back go to an external chilling unit for heat evacuation.

B: Individual metameric variations (Observer metameric failure) (no fix in view)

The spectral sensitivity curves of the receptor cells in the human retina vary from person to person. We are all different. The brain behind each individual pair of eyes is accustomed/trained to the specific spectral sensitivity of the individual eye retinas of that person and takes the above into account. However, this natural compensation mechanism has evolved with continuous spectrum light sources. When triplemonochrome light is used, the overlaps with the spectral sensitivity curves of the retina become crosspoints rather than areas (See figure 3 below).

As a result, individual differences in spectral sensitivity curves may have a greater effect on the

resulting trichromatic stimuli with RGB laser than with a continuous spectrum. And the brain is not trained for this and may not be able to compensate for the individual sensitivity differences in the same way. The perceived differences may then be bigger and this may become a concern. I found only a few studies about the severity of this effect. An interesting study by Yuta Asano et al , presented in November 2014, shows with practical images that the visual differences can be significant when working with a laser projector and an LCD display. This trigger’s concerns that the effect might be far more severe than marginal, and triggers an interest towards further quantitative research. If it is confirmed that the

perceptual differences between individuals can become significant in a cinema theatre setting, these differences could give trouble in grading sessions as the different players in the room (Director, Producer, Cinematographer, Colourist, ...) need to agree on colour decisions. If everyone sees something different on the same screen, then this could make obtaining a consensus more difficult. Subsequently it can diminish or possibly disturb the control that filmmakers have over what the final viewers see in the RGB laser equipped commercial cinema theatre. If individual patrons each see something different while watching the same screen, then it may also be different from the filmmakers’ intentions.

Asano, Mark D. Fairchild, Laurent Blondé, Patrick Morvan, "Observer Variability in Colour Image Matching on a LCD monitor and a Laser Projector" in Proc. IS&T 22nd Color and Imaging Conf., 2014, pp 1 - 6, https://doi.org/10.2352/CIC.2014.22.1.art00001

INDIVIDUAL SPECTRAL SENSITIVITY CURVES AS MEASURED BY STILES AND BURCH

OVERLAPS BETWEEN SPECTRAL SENSITIVITY AND XENON, BECOME CROSSINGS WITH LASER

5Yuta

C: Aging of the human eye lens (no fix in view)

The biological lens in our eye’s changes colour over the time of our life span. It evolves from transparent at birth to dark brown at high age. This goes largely unnoticed in normal life as the human brain will also evolve gradually with it and will learn to compensate for the physical colour change of the lens. But this natural neurological correction mechanism is disturbed again using narrow band monochromatic light. Without a continuous spectrum it becomes difficult for the brain to distinguish between real colours in front of our eyes and the colors coming from the coloured eye lens.

As a result, older cinema goers will experience more reddish skin tones when viewing a movie on an RGB laser lit screen. And the older they are, the redder they will perceive. On the other hand, if the film makers are aged, and grade their movie on an RGB laser lit system or another narrow band RGB display, then the younger movie goers in the cinema may experience too much green in the actor’s skin tones, which can be very damaging to their appearance. This issue is quite bothersome as it concerns all of us and not only groups with certain genetic factors, secondly it affects the perceived redgreen balance which is critical for images to be perceived natural and finally it seems to affect human skin tones which are considered very important in cinematography. Skin tones have significant emotional impact and can affect the "attractiveness" of the movie characters.

Division ISBN 9780023699702

D: Colour Fringing (no fix in view)

Presentation systems using triple monochrome, or very narrow bandwidth primaries, can produce a colour fringing effect for the viewers. I found that this effect also is a result of incompatibility between the human visual system and narrow bandwidth primaries. It visually looks like registration errors between the colour channels, showing thin coloured (often red) lines where the image contains high contrast sharp borders. It is most visible on subtitles, logos, and credits but also on in-picture elements of high contrast, like specular highlights, window borders, horizons, and reflections on water. However, such coloured fringes are not

actually physically there. Walking towards the screen allows us to confirm this: Close to the screen the effect disappears, walking away from the screen makes it larger, also with a well-aligned projector. The effect is proportional to the distance between the viewer and the screen. While with a mis-aligned projector this is exactly the other way around. The strength of the effect also varies from person to person and it is often stronger for persons wearing prescription glasses or contact lenses. Some people do not notice it at all. It also changes with contrast; it is more present with HDR. My view is that this effect occurs because of the workings of the human visual system: One must realise that, contrary to modern

camera or projection optics, the human eye optical system is not equipped with compensation for chromatic aberrations. Nor are prescription glasses or contact lenses. High contrast sharp borders are projected on the retina with chromatic aberrations. In practice this means a slightly soft border with a soft rainbow pattern between the light and dark part. The unconscious image processing parts of our brain will recognise this specific border structure pattern as chromatic aberration and will correct for it. The unconscious brain will remove the rainbow pattern and the fuzziness and will reconstruct a sharp border, before passing the image on to the conscious part of the brain.

Source: Radiant Energy and the Eye (Functional ophthalmology), Sidney Lerman 1979 Macmillan/McGraw-Hill School

However, with a triple monochrome RGB light source, the rainbow pattern cannot form, nor will the fuzziness since there are only three narrow primaries, and all other wavelengths are absent in the light source. On the retina, three sharp borders will form instead of gradients, and the rainbow pattern will not be formed. The brain may not recognise this as a chromatic aberration and may not correct nor reconstruct it. It then passes the sharp coloured borders on to the conscious brain and these will be perceived.

An illustration for what the color fringing artefact can look like. Source: Christian Wieberg-Nielsen, Supervising Colorist, Storyline Studios, Oslo, Norway.

E: Speckle (Technical solutions have been developed but have costs)

Coherent monochrome light waves of laser light allow it to interfere with itself and create random dark and brighter spots in the image. This interference appears as a grainy and moving “speckle”. This can be mitigated by applying diversity or mechanical vibration, each of which, however, comes with a cost in projector manufacturing or screen installation.

Speckle free projection has been achieved and shown, and at times it was believed to be a problem solved. However, in practice, complaints still occur. Speckle can not only cause viewing discomfort; it also can change the perceived texture (grain structure, noise structure) of the

image and as such change the creative intent of the filmmakers. When several primaries work together, this already is some form of diversity, therefore speckle tends to show more on saturated reds or greens, when a single primary colour is active in a majority.

As some of the better remedies against speckle can be costly to implement, install and/or maintain, these remedies are not always applied for economic reasons.

This may explain the recent complaints received about it and the ongoing discussion within the industry as to what degree or quantity of speckle that remains can be considered as “acceptable”.

6 https://en.wikipedia.org/wiki/Speckle_(interference)#Mitigation

F: Contrast Changes (Not triple monochrome spectrum related, seems fixable)

Recent laser projectors are often capable of deeper blacks than lampbased projectors are. This is a positive development but it also can raise issues if not managed carefully by us: It is possible that details in dark picture areas, not visible on Xenon projectors, unexpectedly become visible on a laser projector. If those details contain foreign elements (like cables running over the floor), then this can be bothersome for the cinema going experience. Secondly, deeper blacks, if unintended, can result

in a different lighting atmosphere, and can potentially change the intentions of the Director of Photography, Colourist, Director, Producer, for the feeling of the scene.

Both effects can be explained when values lower (darker) than a xenon projector can render are (unintentionally?) put into a DCP and go unnoticed because of a Xenon projector in the grading room that was not able to render these. When the DCP is then presented on a laser projector, these values can be displayed. During

grading we should probably best avoid putting values in the output file which the system in the grading room cannot display. Maybe grading software could help by issuing warnings in such cases? Or we could check on both display systems. Deeper black, like with HDR, is a valuable asset we can use, but for some time we will need to deal with the fact that not all theatres can display it.

Note also that this issue is not entirely new, as Sony SXRD projectors (now discontinued) were also capable of displaying some deeper blacks.

Laser speckle. Source: en.wikipedia.org

G: Laser Crispiness perception (may be fixable, research needed)

Cinematographers and colourists have reported that the look of the image on a “crispiness” level, or perceived grain / noise level, appear changed (augmented) on RGB laser viewings compared to what was carefully

decided on a (Xenon-lit) grading. The images look crispier and / or grainier or noisier than when viewed on a Xenon projector. In one case this went as far as a director requesting a re-grade, creating a softer version of his movie, for RGB laser lit

presentations, resulting in a dual inventory. The reasons for this happening have not been formally established yet, but are suspected to be the result of the presence of speckle, or the higher contrast, or a combination of both.

NON EXHAUSTIVE CONCLUSIONS

The replacement of Xenon and High-Pressure Mercury Lamps with Laser Illumination is proceeding at a fast pace, in fact some manufacturers have discontinued new projectors with Lamp based Light sources.

The issues mentioned above are real and cannot be swept under the mat.

Is a MOC (Metamerism Offset Correction-see part a) a sound approach? It only tries to address the white point issue which is only one of 6 issues outlined. Not All the issues will be solved by it. So, it is a question if MOC is worthwhile as the other important issues like individual differences and age differences will remain anyway.

If an MOC is required, is a 3x3 Matrix big enough? Will the MOC be Internationally standardised and will it be an opensource design so all manufacturers could adopt the same system? Will DCI want a Specification for a MOC? Where will it be deployed for maximum fidelity for the Movie-goers? Who will decide the parameters? Who will pay? Will grading suites need both Lamp Based and Laser Illumination to make special grades for Monochromatic Laser? Having had many discussions with studio executives I know Single distribution Inventory was a Holy Grail never achieved. Adding an extra layer to distribution inventory and an extra grade would not be optimum.

Using full phosphor laser (where all three colours are generated by phosphor laser) seems to be a more thorough

approach as such full phosphor laser sources can be made with similar spectral characteristics to lamp based sources and thus not exhibiting any of the problems outlined here, while maintaining most of the advantages that laser sources have, like longevity and low maintenance. Phosphor laser sources may have slightly lower power efficiency than RGB laser sources, but their efficiency is still much better than that of lamp based light sources.

Similar techniques can be applied to direct view screens, and in that case the efficiency penalty is almost negligible.

So, it seems that there needs to be a meeting of the minds on where to go between, The DCI, CIE, SMPTE, ISO, Projector Manufacturers, Exhibitors and National Institutions.

WHO PAYS FOR THE WORK, WHO DOES THE WORK?

Is there still a thorough industry motivation to guarantee that the patrons will see a movie exactly as the film makers intended to? This was the case in the beginning of the millennium? Do we allow the medium to degrade to what happened in the television industry, where it is accepted that the television set manufacturers influence the displayed images?

Back in the days of digital cinema this was a hot discussion and a thorough commitment. Will we keep it up or will we let that go? Especially as current LED screens promise to present most of the exact same issues.

Answers on a Postcard Please.

3x3 RGB 2014

BY APPLYING A 3X3 CORRECTION MATRIX TO THE CALIBRATION VALUES OF THE RGB LASER PROJECTOR, THE PERCEPTUAL DIFFERENCES ARE REDUCED, WITHOUT THE NEED TO CHANGE THE ACTUAL DCP STANDARD.

WITH A TRIPLE MONOCHROME RGB LIGHT SOURCE, THE RAINBOW PATTERN CANNOT FORM, NOR WILL THE FUZZINESS SINCE THERE ARE ONLY THREE NARROW PRIMARIES, AND ALL OTHER WAVELENGTHS ARE ABSENT IN THE LIGHT SOURCE.

IN 2014, SHOWS WITH PRACTICAL IMAGES THAT THE VISUAL DIFFERENCES CAN BE SIGNIFICANT WHEN WORKING WITH A LASER PROJECTOR AND AN LCD DISPLAY.

Having had many discussions with studio executives I know Single distribution Inventory was a Holy Grail never achieved.

LIGHTSTEERING TECHNOLOGY: THE HEART OF HDR BY BARCO

Lightsteering is a groundbreaking approach to projection that offers unprecedented precision in controlling both the intensity and direction of laser light, setting it apart from conventional cinema projectors. Traditional systems flood the screen uniformly, making global brightness adjustments that often compromise either highlights or shadows. Lightsteering, however, dynamically modulates light output on a frame-by-frame basis, directing brightness exactly where it is needed. This ensures that every shot, from deep, moody shadows to sunlit landscapes, retains its depth, clarity, and cinematic impact.

WORDS: PETER KNIGHT, COMMISSIONING EDITOR, CT MAGAZINE.

At the core of this innovation is adaptive illumination, where sensors within the projector continuously analyse incoming frames to determine the precise brightness distribution required. This prevents common projection issues such as overexposed highlights or crushed blacks, ensuring a balanced and immersive visual experience. Unlike traditional projectors that adjust brightness across the entire screen, Lightsteering enables localised contrast

control, allowing bright areas to shine without washing out darker regions. This, combined with precision optics that use specialised lenses and mirrors to guide laser beams in real-time, ensures seamless transitions between light and dark, preserving the director’s intent with unparalleled accuracy.Achieving this level of precision was not without challenges. High-intensity lasers generate significant heat, which can distort optical components and reduce projector lifespan. To

counter this, Barco developed advanced cooling mechanisms, including liquid-cooled modules and sophisticated ventilation systems to ensure stable operating temperatures. Energy efficiency was also a key focus, as higher brightness traditionally results in increased power consumption. Lightsteering technology optimises laser output, significantly reducing energy use compared to other high-brightness projection systems. For cinema operators, maintenance and

cost are critical considerations. Barco designed the system with modular components, allowing technicians to replace individual laser modules or optics without needing to dismantle the entire projector. By leveraging economies of scale and forming strategic partnerships with exhibitors, Barco is working to make HDR by Barco accessible to both large multiplexes and boutique cinemas that prioritise top-tier image quality.

The result is a projection system that

seamlessly merges the brilliance of laser illumination with the intricacies of localised light control, delivering on the promise of High Dynamic Range for cinema in a way that is both visually stunning and operationally practical.

HDR by Barco in the UK

Cineworld Leicester Square is arguably one of the epicentres of the UK’s cinematic culture. Nestled in London’s West End, the venue has played host to

countless world and European premieres. Over the decades, its red carpet has welcomed legendary directors, A-list celebrities, and enthusiastic fans. With a capacity for large audiences and a tradition of glamorous events, Leicester Square cinemas—especially Cineworld— have become synonymous with a prestigious filmgoing experience.

Originally dating back to the early 20th century, the cinema has undergone multiple

AUDIENCE RECEPTION

renovations, refits and alternations over its history. It has consistently been a testing ground for technical innovations, introducing everything from surround sound to immersive seat-shaking experiences. Today, the venue is a multi-screen complex featuring different formats such as IMAX, Superscreen, and 4DX. However, the recent addition of HDR by Barco marks a new level of experiential quality, putting the cinema on the cutting edge of projection technology.

Selecting Barco’s HDR system was not just about having the latest gadget; it was a strategic choice that aligned with Cineworld’s push towards offering premium experiences that rival any home entertainment setup.

The West End venue competes for the attention of film enthusiasts who expect the very best, and by investing in HDR by Barco, Cineworld sought to strengthen its position as a premier destination. The venue hosts major film premieres, where top-tier image quality serves as a key selling point for studios looking for the perfect place to debut their movies.

With numerous cinema options across London, differentiation is essential, and HDR by Barco provides a technological edge that helps Cineworld Leicester Square stay ahead of competitors. Additionally, the integration of HDR by Barco allows Cineworld to consolidate its premium offerings, sitting alongside IMAX, 4DX, and Superscreen, ensuring that audiences have access to a diverse selection of high-end formats.

From Barco’s perspective, securing a marquee site like Leicester Square bolsters the product’s profile—demonstrating to theatre chains worldwide what is possible with HDR projection. The installation of HDR by Barco at Cineworld Leicester Square stands as a fusion of technological excellence and cinematic heritage, setting a new benchmark for the future of visual storytelling on the big screen.

The Gladiator II Premiere Launch

The UK launch of HDR by Barco fortuitously coincided with the release of Gladiator II, a blockbuster sequel to Ridley Scott’s 2000 epic. The film promised sweeping landscapes, dramatic

At the premiere screening, audiences and industry insiders alike were struck by how much more immersive emotionally resonant the film felt.

battles, and moody interior palace scenes— essential ingredients to showcase the expanded dynamic range of Barco’s system.

At the premiere screening, audiences and industry insiders alike were struck by how much more immersive and emotionally resonant the film felt. Comments from attendees emphasised the clarity of fast-moving battle scenes and the depth of dark shadows in the night-time sequences. The well-attended gala event reinforced Cineworld Leicester Square’s reputation as the place to watch major releases in their finest format.

Filmmakers and cinematographers have always been concerned with how their vision translates to the big screen. Traditional SDR projection, even in its best implementations, can compress highlights and crush shadow details, diminishing the depth and texture meticulously crafted during production. HDR by Barco changes this by retaining more information in darker regions, ensuring that key visual or narrative elements are never lost. Bright highlights, such as sunlit skies, flames, or reflective surfaces, appear more realistic and eye-catching, adding to the immersive experience. Additionally, the extended colour gamut guarantees that grading decisions made during post-production are faithfully represented, allowing filmmakers’ creative intent to be preserved with stunning accuracy.

Many industry figures have publicly praised Barco’s technology for bringing cinema projection closer to the reference monitors used in grading suites. This reduces the guesswork in how a film’s final look will translate to public screenings.

From casual moviegoers to cinephiles, the reaction to HDR by Barco has been one of enthusiasm. While not every viewer is fluent in the technicalities of projector contrast ratios, they do notice more vibrant colours, crisper whites, and improved dark scenes. These differences enhance the sense of immersion—viewers feel more “inside” the film world.

Surveys conducted during test screenings indicate that:

89%

OF RESPONDENTS REPORTED THAT HDR BY BARCO DELIVERED A MORE “ENGAGING VISUAL EXPERIENCE” COMPARED TO STANDARD PROJECTION.

84%

FELT THAT THE TECHNOLOGY “GREATLY IMPROVED THE CLARITY” OF FAST-MOVING OR ACTION-HEAVY SEQUENCES.

AUDIENCE MEMBERS DESCRIBED THE IMAGES AS HAVING “HEIGHTENED REALISM” AND “NOTICEABLY BETTER DETAIL IN SHADOWS.”

These findings reinforce that while resolution is still important, dynamic range and colour fidelity dramatically affect the audience’s emotional engagement and willingness to pay a premium for the cinema experience.

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THE EVOLUTION OF REMOTE PROJECTION

Dave Jones from KDKinotec talks to CT about their Remote Projection service and how it came about.

WORDS: PETER KNIGHT, COMMISSIONING EDITOR, CT MAGAZINE

As the cinema industry continues to evolve, technology is playing an increasingly critical role in ensuring smooth and efficient operations. One such innovation is remote projection, a service that enables cinemas to manage their projection systems off-site, reducing the need for dedicated in-house technical staff while maintaining high presentation standards. Initially developed during the COVID-19 pandemic to assist drive-in cinemas, remote projection has since expanded to benefit traditional cinemas, offering a range of advantages that are reshaping how projection and content management are handled.

What is Remote Projection?

Remote projection is a solution developed by KDKinotec to assist the management team with cinema operations. Through a secure network connection, remote projectionists handle scheduling, content ingestion, playlist administration, and real-time monitoring of projection equipment.

This means that on-site cinema managers need only provide their programming schedule and ensure that any physical media, such as hard drives, are connected to the system for ingestion. The remote team then takes care of the rest, ensuring that content is correctly scheduled and presented without disruption. This service is particularly beneficial for cinemas that may not have dedicated technical staff or where management teams are stretched thin with other operational responsibilities. By centralising projection control, remote projectionists can oversee multiple venues from a single location, providing a streamlined and cost-effective solution for exhibitors.

Origins and Development

The concept of remote projection was born out of necessity during the pandemic. With lockdowns forcing traditional cinemas to close, drive-in cinemas experienced a resurgence. However, many of these pop-up venues lacked experienced projectionists, creating a demand for an alternative approach to managing screenings. By leveraging 4G networks and integrating with a central Theatre Management System (TMS), remote projectionists were able to oversee multiple screens without needing to be physically present. This included scheduling playlists, managing pre-show content such as trailers and adverts, and even monitoring the on-screen image through non-recording cameras to ensure quality and make real-time adjustments. The success of this system in the drive-in sector demonstrated its potential for indoor cinemas, especially those with limited

technical resources. KDKinotec recognised this potential and expanded its remote projection service to cater to traditional cinemas seeking to enhance efficiency.

The Benefits of Remote Projection

For cinema operators, the benefits of remote projection extend far beyond simple convenience. Some key advantages include:

Operational Efficiency

One of the primary advantages of remote projection is the reduction of workload for on-site

cinema teams. Projectionists handle content scheduling, KDMS tracking, playlist assignment, and general content management, allowing cinema staff to focus more on customer service and front-of-house operations. This can be particularly valuable for independent cinemas or multiplexes with lean staffing models.

Proactive Monitoring & Issue Resolution

Remote projection is not just about scheduling—it also involves continuous monitoring of projection equipment. If a projector fails to start or a technical issue arises, the remote team can identify and resolve the problem before it impacts the screening. In many cases, potential faults can be detected in advance, preventing disruptions. Simple interventions, such as remotely striking a lamp or resetting a system, can be performed without requiring an on-site technician.

Cost Savings and Flexible Integration

Cinemas that use remote projection services often benefit from reduced operational costs. By outsourcing projection management, there is less need for in-house technical staff, and maintenance can be handled more efficiently. Some service packages even include coverage for annual TMS licenses or offer discounted new TMS units for cinemas without them. This makes the transition to remote projection a financially viable option for a wide range of venues.

Human Oversight Over AI Automation

While automation is playing an increasing role in cinema operations, there is a clear advantage to

having human oversight. Remote projectionists provide an extra layer of assurance that AI-driven automation alone cannot offer. With a person actively monitoring and managing the system, cinemas have the reassurance of direct human intervention should any issues arise. Additionally, having a real person available for troubleshooting adds an element of reliability and customer support that AI solutions lack.

The Future of Remote Projection

As the industry continues to adapt to new technologies, remote projection is likely to become an integral part of cinema operations, particularly for small and mid-sized venues looking to optimise their resources.

While some major chains may continue to maintain in-house projection teams, independent cinemas and regional multiplexes stand to gain significantly from this service. Furthermore, as network infrastructure improves, including the wider rollout of 5G and fibre broadband, remote

projection services will become even more responsive and capable. The potential for integrating predictive maintenance analytics— where remote systems use data to anticipate equipment failures before they occur—will further enhance reliability and efficiency.

Conclusion

Remote projection represents a further evolution in cinema technology, providing exhibitors with a practical and efficient alternative to traditional projection management. By enabling expert technicians to oversee operations remotely, cinemas can benefit from enhanced reliability, reduced costs, and improved operational efficiency. While originally developed out of necessity during the pandemic, remote projection is proving to be a valuable long-term solution for the industry, ensuring that audiences continue to enjoy high-quality presentations without the challenges of onsite technical maintenance.

COME TOGETHER

The Case for Self-Powered Loudspeakers

WORDS:

MARK MAYFIELD, DIRECTOR OF CINEMA MARKETING, MEYER

SOUND

Imagine buying a car, only to find it has no engine. Or buying a toy with “batteries not included”. They won’t work without these critical parts, and you have to select and purchase these parts separately. Now you have a whole new set of decisions to make. What do you do? How do you know which engine works best with your car, or which size/voltage batteries to buy, and how many? While this seems like an oversimplification, this is often similar to shopping for a sound system. But it doesn’t have to be this way.

In the early days of electronic sound, radios, television sets, record players, electric guitar amplifiers, computer loudspeakers - almost any device that made sound - contained both a loudspeaker with an amplifier attached to or inside it. It was so convenient; just plug it in, connect your source, and it worked. Over time, they separated. Why?

Part of the answer has to do with the need for greater sound pressure levels. In the early days of home Hi-Fi, and later professional audio, increasing amounts of amplifier power (wattage)

LOUDSPEAKER TERMINOLOGY

Speaker: someone who’s talking.

Transducer: a device that converts energy from one form to another.

Loudspeaker: a system that is used to reproduce sound from an electronic signal.

Driver: an individual transducer component of a loudspeaker that covers a limited frequency range. It converts electrical power into mechanical and then acoustic energy.

Signal Processing: analyzing and modifying an electronic signal.

Amplifier: a device that converts a low-level signal to a higher level (larger) one.

were required to push loudspeakers to the appropriate level for their given application. High power amplifiers depended on large, heavy transformers to convert the AC voltage to the correct level for the amplifier’s power supply. They also generated a lot of heat – especially vacuum tube designs - which sometimes required large heat sinks for thermal dissipation. For these reasons, it became more practical to separate the amplifier from the “passive” loudspeaker enclosure (no integrated electronics), especially for larger, high output systems.

As the power amplifier industry grew, so did the number and variety of model options for both home Hi-Fi and the pro audio markets. At the same time, loudspeaker brands proliferated. With so many options, it became even more challenging and time consuming to select the right power amplifier to pair with a given loudspeaker for a specific application. Power handling also became an issue: every driver in every loudspeaker has an inherent limit on how much power it can take. Some drivers, like those in low-frequency loudspeakers or

subwoofers, can handle lots of electrical power. Others, like the ones in high frequency drivers attached to horns, can handle much smaller amounts of power.

Applying too much power to a driver can damage it, and too little can cause you to overdrive the power amplifier (to produce the

LOUDSPEAKER

EQUALIZATION

ACTIVE CROSSOVER

desired volume), leading to audible clipping distortion, and eventually, damage to the driver itself.

So you would need a variety of amplifiers depending on the specifications of each component in a multi-way loudspeaker system (2-way, 3-way, 4-way, etc.). Multi-way

loudspeakers also require other signal processing like frequency dividing networks (or crossovers) to route the correct band of frequencies to the appropriate driver that’s best equipped to handle it. Yet another component to select, connect, and (in many cases) adjust and configure.

In passive loudspeaker systems, there are multiple interconnections, components that require their own AC power, and often long loudspeaker cables.

Advanced technology to the rescue

Over the last 50 years or so, amplifier topologies such as class D (or “switching”) amplifiers made it possible to eliminate or minimise large, heavy

transformers, so amplifiers became significantly lighter and smaller.

It became practical to once again restore the amplifier to where it has always belonged: integrated with the loudspeaker enclosure.

LOUDSPEAKER EQUALIZATION ACTIVE CROSSOVER

COMPRESSION/LIMITING AMPLIFIER

Powered loudspeaker systems have far fewer externally interconnected components, a single AC power connection, and minimal loudspeaker cabling.

Adding signal processing circuitry like crossovers, limiters, equalisation can also be easily integrated, simplifying system design and ensuring the best possible match of electronics and loudspeakers.

While self-powered (or active) loudspeakers have soared in popularity in recent years for nearly every pro audio application you can think of, this has not been the case in cinema sound.

One reason is based on tradition and practicality. Traditional practice has been to locate amplifiers in the projection booth, sometimes hundreds of feet from the loudspeakers they power behind the screen and along the walls.

In the booth, a projectionist could monitor

the amplifiers to make sure each amplifier channel was functional and getting the correct signal. This assumed, of course, that a projectionist was always nearby.

Times have changed, and these traditions have become less valid. No longer is there a projectionist at every site. Even when there is one, modern mega-complexes make it a challenge for a single projectionist to regularly monitor all screens in the sprawling projection alleys which sometimes span great distances.

One great benefit of the transition to digital projection has been the adoption of networking technologies in cinemas, allowing DCPs and other content to be delivered over networks. Cinema sound systems can also become networked, enabling centralised monitoring and control of many components, including power amplifiers and loudspeakers. The need for boothlocated amplifiers has been greatly diminished.

The time for self-powered loudspeakers in cinema has come.

FIGURE 1

FIGURE 2

There are many inherent benefits to fully integrated system design. Here’s just a few

NO GUESSWORK:

Since self-powered loudspeakers incorporate amplification, you’ll never have to deal with matching loudspeakers to amplifiers or connecting components. With the amplifier and signal processing built-in and matched to the loudspeaker, there are a closed set of defined variables, such as driver performance limits, enclosure volume, and acoustic performance. Manufacturers can fully optimise all components for maximum performance.

EASE OF DEPLOYMENT:

System set-up is much easier when you have fewer components and fewer cables to worry about being miswired. You don’t have to spend a lot of time on calibration of gain and crossover settings or miswired driver polarity. Because amps are built into loudspeaker cabinets, there’s no need for long, expensive lengths of loudspeaker cable from the projection booth to the loudspeaker, which can cause distortion and signal loss.

PREDICTABLE, RELIABLE OPERATION:

Because individual components have been optimised during manufacturing, you can expect consistent sound from loudspeaker to loudspeaker, from screen to screen. Built-in, factory-optimised protection circuitry eliminates the possibility of distortion without degrading signal quality. And, when you have less equipment and fewer interconnections, you have greatly reduced risk of failure.

SUPPORTS “BOOTHLESS” CINEMA DESIGN:

With the amplifiers built into the loudspeakers, there’s no need for large amplifier racks, enabling more efficient building designs that save space and reduce construction and HVAC costs.

The case for self-powered loudspeakers in cinema sound systems is not just a matter of convenience but a forward-thinking solution that addresses both technical and practical challenges. By integrating amplifiers and signal processing directly into the loudspeakers, cinemas can simplify system setup and enhance reliability. This innovation eliminates the complexities of matching and connecting separate components whilst supporting the potential of boothless cinema designs, paving the way for more efficient, cost-effective theater layouts. As cinema technology continues to evolve, embracing self-powered systems ensures a future where sound quality and operational efficiency go hand in hand.

About the author

MARK MAYFIELD HAS AN EXTENSIVE BACKGROUND IN PRO AUDIO, AV, AND CINEMA, INCLUDING SALES, MARKETING, AND PRODUCT DEVELOPMENT. PRIOR TO JOINING MEYER SOUND, HE WAS DIRECTOR OF GLOBAL CINEMA MARKETING FOR QSC AND JBL. HE HAS ALSO SERVED AS EDITORIAL DIRECTOR FOR SEVERAL MAJOR TRADE PUBLICATIONS INCLUDING SOUND & VIDEO CONTRACTOR, PRO AV, AND WAS FOUNDING EDITOR AND CO-CREATOR OF AV TECHNOLOGY MAGAZINE, FOCUSING ON THE CONVERGENCE OF AV AND IT. MARK HAS PRESENTED CINEMA SOUND SEMINARS IN EUROPE, ASIA, AND NORTH AMERICA. HE IS CURRENTLY PRESIDENT OF THE INTERNATIONAL CINEMA TECHNOLOGY ASSOCIATION.

CINEMA IN CHINA:

RIDING THE ROLLER COASTER

Since the film market was liberalised some 20 years ago, box office in China ascended the lift hill, reaching the plateau in 2018 before beginning the terrifying descent of COVID in 2020 and the ups and downs of the thrill-seeking ride since.

WORDS: DAVID HANCOCK,

Without stretching the metaphor too far, the accompanying graph does resemble the trajectory of a theme park roller coaster, with the hindsight of the pandemic contributing a partial explanation for it, but what else is going on in the market to leave 2024 down by 23% on the previous year. However, already in 2025 and underlining the volatility, the movie Ne Zha 2 has become the first film in history to gross more $1bn in a single market (in this case China and now stands at $1.4bn yuan), and taken it to 17th in the all-time worldwide box office rankings (with further box office to come), ahead of global hits such as Deadpool & Wolverine and Super Mario Bros. This means that one film has already earned nearly a quarter of the whole market’s result last

CHIEF ANALYST, MEDIA & ENTERTAINMENT, OMDIA

year and is an encouraging sign for the year. It also became the first movie to attract 200m television viewers, according to CCTV. Returning to 2024, the main factor behind this steep annual decline is the poor summer period in 2024, which suffered a 44% decline over the previous summer. China’s cinema market seems to be struggling to adapt to evolving tastes; the dominance of comedies is a clear indication of that. Comedy seems to have been the mainstay of the market last year, and the big budget films have underperformed.

US Content Stand-Off

It is also true though that US films have less appeal for Chinese audiences than before COVID –tastes have changed across the board, it would

seem, and the political hostility between the two countries may be playing a part too as the censors have been demanding more changes since 2020. It is worth noting that China Film Bureau handed over the role of censor to the party structure in 2018, and while US producers would make changes to accommodate the Chinese market in the mid-2010s, this attitude had hardened by 2022 when Top Gun: Maverick was refused entry into the market as the film’s producers declined to do so.

Shrinkage in Local Content

While Hollywood’s market share was 21% in 2024, it used to take 35-40%. Keeping out US films during the pandemic to favour Chinese films may work in times of strong local product but

breaking the habit of watching major US blockbusters has partially backfired in that when the local films do not perform, the depth of product isn’t there to complete the natural market level. The revenues earned by local films dropped 27.3% in 2024. There were 100 fewer local releases into the market in 2024 on 2023, which was a contributory factor in the poor year for cinemas and domestic movies. Total domestic releases dropped back to just over 500 in 2024, which is 85% of the total number of first-run films released, but down from 612 in both 2023 and 2019. One key difference between now and a decade ago is that Chinese films are now topping the box office regularly, partly explaining the decline of Hollywood’s market share in the country. In 2023, all Top 10 movies were

Chinese, and in 2024, eight out of the Top 10 films were Chinese supplemented by Godzilla X Kong: the New Empire (US) and The Boy and the Heron (Japan). Additionally, as foreign films are kept out, this also lessens the ability of local filmmakers to learn from them. This may not matter now as many Chinese films have high production values. China has successfully built up a production sector in the past decade by learning from others, either by collaboration on projects, acquisition of companies and talent, and co-productions with outside producers. Hollywood is no longer making movies for the Chinese market, which was a politically tricky endeavour, and Chinese investment in US movies has dried up a once fertile cross-pollination. In October 2024, Legendary Pictures bought out the 50% share that Wanda Group had in it since 2016. E-commerce giant Alibaba (2016 acquisition of a stake in Spielberg’s Amblin Entertainment) have ceased direct investment in Hollywood movies (such as with Mission Impossible – Rogue Nation). For its part, Tencent acquired IM Global in 2016, and directly invested in movies (eg. Men In Black: International) but was encouraged to sell its stake in IM 2022 and also pulled its investment into Top Gun: Maverick reportedly for political reasons.

It is not all going badly: in December 2022, the film Her Story was released, the first film in China to be collectively made by women filmmakers. In summer 2023, for the Top 5 movies in China, 61% of the audience were women. These films were of differing genres: crime thriller, epic fantasy, romantic mystery amongst them. In 2024, 58% of Chinese cinemagoers were women (up from 51% in 2019), even though demographically there are more men than women in China. In 2024, the leading 2 films were both aimed at women: Yolo and Successor. Chinese producers seem to be tapping into what women want to watch at the cinema in a way that US studios, and indeed others, are not. Women are more social than men, building social groups more effectively, and the core of cinema is the social importance of going out; these two factors are being missed by many current films. This is a positive trend within the market, but it can also be a double-edged sword in that the prevalence of women cinemagoers means there is a fall-off in interest by men, and that is unsustainable over a longer

CHINA: CINEMA SCREENS VS ADMISSIONS PER SCREEN, 2008-2024

CHINA: GROWTH OF CINEMA SCREENS AND SITES

period than a year or two. The market needs greater balance than that.

A Changing Audience

In the same demographic vein, one of the more worrying trends for China is the desertion of younger audiences from their venues. In 2018, cinemagoers under 25 made up nearly 40% of the audience, while in 2024 the equivalent figure is 21% (according to a recent report from China Film Association). More specifically, from 2018 to 2024, the proportion of ticket buyers aged 20-24 in China dropped from 30 percent to 17 percent. At the other end of the age scale, over 35s were only 20% of the market in 2018, rising to one third of visitors in 2024. One reason may be that, as stated already, there are fewer Hollywood action movies coming into the market, which are often

aimed at young men. Another reason is that the unemployment rate amongst young people is at 20% which leaves this key audience with less disposable income for cinema-going. This statistic is symptomatic of the wider slowdown of the Chinese economy, which is also an underlying factor behind cinema’s poor year. Cinema has proved it is more recession-resistant than many other sectors, but it isn’t immune to these pressures. In straightened times, the movies need to appeal to get people out of the home.

It may also be that as a new medium, cinema has not become an ingrained habit amongst younger people, and their attention has moved elsewhere, especially as they perceive that cinema content is not aimed at them. For these younger viewers, new formats may be more attractive, notably the rise of micro-dramas.

CHINA: BOX OFFICE PERFORMANCE IN US$ MN

CHINA: BOX OFFICE PER RELEASE ($MN)

These are short-form content, between 1 and 15 minutes in length, usually at the shorter end, and consumed on a mobile phone for a subscription fee or in-app tokens to unlock new episodes. They are in line with the shorter attention spans of TikTok and other apps, and away from longer formats such as feature films, and are very popular with young audiences, often going viral once they drop. A recent news article puts the market for these programmes at $6.8bn in 2024, up from $5bn in 2023, even after tightened rules on permitted content by the authorities. Production cycles are also short so new series and episodes can be launched regularly.

The screen base, while growing by 4,600 screens in 2024 to just over 90,000, is approaching the government’s 100,000 target and therefore saturation. The screens now being

built are often in smaller towns and cities around China, which are smaller and with lower ticket prices than the major cities. It is also unclear if some screens are still inactive after COVID. This underlines that the days of high growth for China’s box office are probably past and a more modest pace can be expected.

The longer-term prognostic depends on the ability of the market to adapt to these changing conditions, which in turn depends on how much of a market it is allowed to be. Chinese feature production levels dropped significantly in 2024, which will have an impact on releases for the next two years. Much is therefore reliant on whether producers can make films for younger audiences again and cinemas can get people, especially those financially struggling younger audiences, back to perceiving value in a standard cinema

ticket (and not just Premium which is performing better) and recreate the habit of cinema-going.

The Chinese film industry has built something remarkable from scratch in 15 years, but domestic production levels and their success at the box office are not enough to fuel the entire market. It will require other successful movies to achieve the full market potential that it deserves after the effort required to get here. Whether that is Japanese anime, Indian titles or Hollywood blockbusters, the market structures need to accommodate this reality. The movie world at these rarefied levels is interconnected: Hollywood needs China and other markets to come back for their movies and China needs Hollywood movies in order to grow further and achieve its potential.

EMPOWERING WOMEN IN CINEMA ENGINEERING

CTC has always argued for better diversity and equality in the cinema industry. Following on from iniatives including the "Women in Cinema" interview series, CT magazine speaks with three brilliantly talented women about their journeys in cinema engineering, the challenges they’ve faced, and how the industry can become more open and inclusive for future generations.

WORDS: PETER KNIGHT, COMMISSIONING EDITOR.

In an industry historically dominated by men, women are steadily carving out their own space in cinema engineering. Their journeys highlight not just passion for the field but also a drive to reshape the narrative and inspire future generations.

Three professionals—Kore Pendragon, Janina Baltaziewicz, and Molly Wickington— share their experiences, challenges, and hopes for the future.

Kore Pendragon’s journey in the film industry began in 2003, spanning various roles in cinema operations. In 2019, she launched KD Kinotec, initially focusing on drive-in cinemas, an idea that gained renewed interest during the pandemic. Today, KD Kinotec works as a cinema integrator while also curating unique screenings that bring communities together through film. Despite advancements in cinema technology, the projection room remains perceived as a maledominated space. “The industry, particularly in technical roles like projection and engineering, still carries the reputation of being a space for older men,” Kore notes. “Women need to break through these stereotypes and prove that we belong here as much as anyone else.”

Molly Wickington, a Digital Cinema Engineer soon stepping into a Head of Projection role, shares a similar journey. She started her career at 18 as a parttime cinema team member while studying Art at university. Without formal training, she developed a passion for technology, progressing into engineering. “What I love most is

BUILDING CONFIDENCE AND REPRESENTATION

Empowering women in engineering isn’t just about increasing numbers— it’s about fostering confidence.

“Films like Barbie resonate with young women because they emphasise empowerment and self-belief,” Kore explains. “We need to translate that energy into our industry and show that women belong in cinema engineering.”

Janina stresses the importance of role models. “I didn’t have a female mentor when I started, but I see the difference it makes today. Representation matters—seeing women in technical roles encourages others to pursue the same path.”

Molly agrees, adding that visibility and mentorship are key. “To encourage more women in engineering, we need to showcase successful women in the industry.

When young women see others thriving in these roles, it becomes easier to imagine themselves there too.”

Encouragement also comes from the professional community itself supported by various industry intiatives including Women in Exhibition, the UNIC mentorship scheme and the focus of this important topic by trade organisations such as CTC. Kore highlights how networking and peer support can help break down barriers. “When women support each other in technical fields, it not only builds confidence but also challenges outdated perceptions.”

problem-solving. Working with projection equipment allows me to combine technical expertise with creativity, ensuring the best experience for audiences.”

Janina Baltaziewicz, who works at Christie Digital, has also seen how persistence and dedication can drive change in the field. “I started in this industry with little expectation of encountering other women in engineering roles. Over the years, I’ve seen more women enter, but we still have a long way to go in creating real balance.”

ENCOURAGING MORE WOMEN TO ENTER THE FIELD

Creating a more inclusive cinema engineering industry requires active engagement and structural changes. Kore stresses the importance of equal opportunities and fair pay:

“Women should never be afraid to negotiate their worth. Wage gaps persist and we need to advocate for transparency and equity. By recognising their value and demanding fair treatment, women help build a more inclusive workplace.”

Janina highlights the need for education and training: “Cinema

technology evolves rapidly. Ensuring that training opportunities are accessible to everyone, regardless of gender, is key to retaining and advancing women in the industry.”

Molly advises aspiring female engineers to seek hands-on experiences and connect with supportive networks.

“Confidence comes from practical learning. Manufacturer training courses, mentorship programs and industry events help women develop the skills they need.”

A FUTURE OF INCLUSION AND INNOVATION

KD Kinotec, under Kore’s leadership, aims to reshape the professional landscape while inspiring young women to pursue careers in engineering and cinema. “The cinema industry is evolving, and the role of women in engineering is becoming increasingly vital. We must illuminate the projection room not just with lamps and lasers but with diverse voices.”

Janina envisions a future where gender no longer defines a person’s career

opportunities. “I hope that in a decade, we won’t have to talk about women in engineering separately—we will just be engineers, without qualifiers.”

By championing these efforts and listening to the voices of those sucessfully forging careers, the industry can move toward a future where technical expertise is valued irrespective of gender and where young women see a place for themselves in the heart of cinema technology. The path to

Another essential aspect of change is fostering awareness at an early stage. “If young women aren’t exposed to engineering as a career option, they may never consider it,” says Janina.

“We need more outreach in schools and universities to show that these careers are viable and rewarding.”

“We need more outreach in schools and universities to show that these careers are viable and rewarding.”

inclusivity is ongoing, but with dedicated professionals like Kore, Janina, and Molly leading the way, the future of cinema engineering is bright, diverse, and hopefully increasingly open, accessible and welcoming to all.

KORE PENDRAGON

JANINA BALTAZIEWICZ

MOLLY WICKINGTON

N O B A R R I E R S

B O U N

S K N O W L E D G E S H A RI N G F I R S T.

With more than 9 5 0 members in over 8 5 countries, Cinema Technolog y Community ( C T C ) is the world’s leading independent , not-for-profit trade or ganisation providing valuable educational resources to the global cinema industr y

With a highly engaged global community and a regular stream of content including white papers, podcasts, video content , web seminars, training , presentations and ne tworking events, C T C is the go to resource for cinema industr y professionals.

We’re passionate about the industr y and creating the best cinematic experience for moviegoers. We believe education is key and that we ’ re stronger and be tter when we learn and share toge ther, so we continue to remove the biggest barrier - the cost!

Q&A WITH... NICO DE CLERCQ

About Nico

I’M NICO DE CLERCQ, HEAD OF PRODUCT AT BARCO CINEMA. I’VE BEEN WITH THE COMPANY OVER 14 YEARS AND RETURNED TO BARCO’S CINEMA DIVISION IN DECEMBER AFTER LEADING TECHNICAL AND COMMERCIAL PRESALES FOR THE ENTERTAINMENT TEAM SINCE 2021. I HOLD MASTER’S DEGREES IN APPLIED ECONOMICS AND IN OPERATIONS MANAGEMENT; STARTING MY CAREER IN CONSULTANCY AND ANALYST ROLES BEFORE JOINING BARCO.

I LIVE IN THE CITY CENTRE OF GHENT, BELGIUM, WHICH IS ABOUT HALF AN HOUR FROM BARCO’S GLOBAL HEADQUARTERS IN KORTRIJK. IT’S A BEAUTIFUL MEDIEVAL CITY FULL OF HISTORY AND VIBRANT ENERGY; SURROUNDED BY PROUD LOCALS, STUDENTS, AND TOURISTS. I’M LUCKY TO SHARE THIS LIFE WITH MY WIFE AND DAUGHTER. TOGETHER, WE’VE HAD THE CHANCE TO EXPLORE MANY PARTS OF THE WORLD BEYOND GHENT, INCLUDING VISITING ALL SEVEN WONDERS OF THE WORLD. I’VE ALWAYS LIVED AN ACTIVE LIFESTYLE AND PLAYED BASKETBALL FOR MANY YEARS UNTIL MY BACK URGED ME TO SWITCH TO LESS DEMANDING ACTIVITIES - BUT IF YOU EVER SPOT A 6’6” (2 METERS)

TALL GUY AT AN INDUSTRY EVENT, THAT’S PROBABLY ME!

Can you tell us about your current role at Barco and what a typical day looks like for you?

I’m based at the Barco HQ in Belgium, where I lead the international team of product managers and product specialists for Barco Cinema. Together, we’re responsible for shaping the product roadmap for our portfolio of cinema products and ensuring that we meet customer needs throughout the entire development process. While that sounds straight forward, it’s actually a complex role because we work at the intersection of nearly every team in the company—R&D, Marketing, Operations, Supply Chain, Sales, and more. It’s a dynamic environment and it has given me a deep appreciation for the hardworking, talented people throughout Barco who help bring our innovations to life.While we work closely with our colleagues throughout Barco, ultimately, my team’s driving goal is to deliver value for our customers. Therefore, you will often find us out at industry events or visiting customer theatre locations around the world. We’re there to talk and educate, but mostly we’re there to listen. Our aim is to understand our customers’ needs and ensure that we’re creating the right solutions.

You began your career outside the cinema industry. What prompted your transition into this sector, and what has motivated you to stay?

My start in cinema in 2011 was quite coincidental. I simply wanted to work in an international role and with an industry leader that made a product I can get excited about. With that goal, Barco became the obvious choice.

Fourteen years later and I’m still with the company. I’ve been fortunate to move around the organisation and try many different roles within Barco, some outside the cinema division. Barco is such a unique company; it is small enough that you feel at home and you can really see the direct impact of your efforts; yet it’s also a global technology corporation that is leading in multiple industry sectors. That scale provides opportunities for employees to grow and shape their career.

You recently transitioned back to Barco’s Cinema division after working in the Entertainment division. What key insights have you gained from your time in entertainment that you believe will benefit the cinema industry? Conversely, were there any lessons from cinema that you brought into the entertainment sector?

As with Barco Cinema, it’s easy to fall in love with the brilliant visual experiences we build in Barco Entertainment, and both divisions are dedicated to delivering unforgettable experiences for audiences. In Cinema, we work with exhibitors, integrators and distributors; in Entertainment,

we work with partners in the live event, simulation, and themed entertainment spaces. However, the objective is the same for both: enable our customers to achieve their business goals and honor the trust they place in Barco - our team and our products. That relationship is something I will never take for granted. My four years in the Entertainment division was a real hands-on experience and I lead larger, more technicaloriented teams than I had before. That experience was a valuable stepping stone, giving me a deeper understanding of the product development pipeline and preparing me to take on a new challenge in product management with Barco Cinema. My role today is an exciting blend of my previous work with the commercial side of cinema and my experience from entertainment pre-sales.

What excites you most about working in the cinema industry?

It may sound unoriginal, but nothing compares to the experience of seeing a movie in the cinemayou can’t replace it. It is very rewarding to play a part in the cinema legacy, however modest. I want to continue to push the envelope so that my daughter’s generation, and the ones that come after her, can continue to be swept away by breathtaking cinematic experiences.

I do also consider myself a people person and I love building long-term relationships. The cinema industry is a well-defined eco-system where you can build up a unique sense of belonging. We are all bound by the same purpose of advancing the cinema experience, and, particularly in my field, also by long term commitments on technologyenabled outcomes. This all combines to create an environment that gets the best energy out of me.

What advice would you give to someone considering a career in this field?

Come talk to us! Barco continues to innovate and grow, and we are always looking for talented people that are as passionate as we are.

In what ways can technology play a bigger role in attracting audiences back to cinemas?

There is no shortage of experiences competing for the audience’s attention today. Museums,

"High quality presentation and diverse technology format offerings highlight to audiences how unique the in-theatre experience is."

experience centres, live performances, theme parks, city festivals... are all raising the level of storytelling and immersion. Our movie studio and exhibitor partners are the experts on the audience journey from home to the cinema. But once the guests take their seats and the show starts, it’s our turn, and we better deliver, every time. Highquality presentation and diverse technology format offerings highlight to audiences how unique the in-theater experience is. When moviegoers are impressed, they return.

What are some of the biggest challenges facing cinema technology today, and how is Barco helping exhibitors overcome them?

On one hand, we need to push the audiovisual performance for premium systems to remain uniquely positioned to deliver a landmark cinema experience. For example, with our unrivalled “HDR by Barco” we provide a technology building block that can be adapted by any exhibitor that wants to shape something truly special within their theaters.

On the other hand, there are still many exhibitors with aging equipment in their theaters, a challenge which they are also balancing against rising infrastructure costs. For those customers, we are proud to offer the widest choice of laser projection solutions, and a laser for every screen. The move from xenon to laser is not just about upgrading presentation, it also impacts operations with decreased power consumption, less waste, and fewer maintenance needs than legacy technology models. Barco is committed to enabling exceptional, laser-powered cinema with a laser solution for every theater and every screen.

Want to connect with Nico? Scan the QR code opposite.