Cinema Technology Magazine - Winter 2025

CINEMA TECHNOLOGY

VOL.38 NO.4 WINTER 2025

THE OFFICIAL PUBLICATION OF THE CINEMA TECHNOLOGY COMMUNITY

THE TECH DRIVE ALSO IN THIS ISSUE HDR IN CINEMA, IS NOW THE TIME? COULD HAPTICS BE NEXT? THE FUTURE OF DRIVE-IN CINEMAS.

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An official publication of

A LOOK AT THE UK INDUSTRY

THE GLOBAL CINEMA TECHNOLOGY NETWORK

WELCOME

ED'SNOTE R I C H A R D M I T C H E L L , P R E S I D E N T, C I N E M A T E C H N O L O G Y C O M M U N I T Y.

exhibitors are choosing to invest and movie-goers are responsive to this. We’re seeing this best through the further rolling out of premium formats which continue to perform strongly. But for the industry to become stronger, we need to ensure that normal cinema succeeds, it can’t just be left to a few tent poles and premium formats to do the

CINEMA TECHNOLOGY CINEMA TECHNOLOGY

VOL.38 NO.4 WINTER 2025

THE OFFICIAL PUBLICATION OF THE CINEMA TECHNOLOGY COMMUNITY

heavy lifting and in making sure that succeeds, we need to understand our audience better including cities and regions benefit from and be more targeted with content and marketing. And we still need more content, as one exhibitor told me, “it’s felt like feast or famine all year where we either

THE TECH DRIVE A LOOK AT THE UK INDUSTRY

have nothing for weeks or too much content at

ALSO IN THIS ISSUE HDR IN CINEMA, IS NOW THE TIME? COULD HAPTICS BE NEXT? THE FUTURE OF DRIVE-IN CINEMAS.

once to be able show everything given the limited

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001_WIN25_COVER.indd 1

number of screens we have.”

W

If together, we can establish a stronger value hilst 2025 has been very much

proposition (content plus experience), develop

about solidifying the base, and

audiences and work out how to reach the younger

there’s been many positive

generation, then we can make 2026 a good year

moments including a relatively strong flow of

with some real growth.

content, there’s no escaping the fact that as an

As we close out 2025, CT Magazine takes a

industry we still face a number of challenges and

deep dive in to the UK to look at how all parts of the

we need to find collective answers.

industry are investing and adapting taking

Original IP is performing well and new genres

learnings not just from cinemas but also other

such as anime appear to be succeeding at the box

industries that have diversified and grown. We

office, yet admissions are still trending down and

hope, you find the magazine thought-provoking in

at the time of writing, forecast to fall beneath 2025

helping to find answers to the challenges we face.

expectations. Although it’s somewhat less of a

It’s always nice to finish on a happy note, so

fight for survival than it was two years ago, it is clear

we’d like to take the opportunity to wish Peter

that the market continues to evolve and the speed

Knight (our Chief Writer and Commissioning

at which we can adapt will dictate our collective

Editor) and his wife Catherine enormous

ability to grow.

congratulations on the birth of their son, who

There are some major exhibitors that are now

THE GLOBAL CINEMA TECHNOLOGY NETWORK

05/12/2025 17:30

Cinema Technology Community (CTC) 124 City Road, London EC1V 2NX E: info@cinema-technology.com 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 is mailed to IMIS Members. For subscription details and to read the magazine online, visit www.cinema-technology.com or email info@cinema-technology.com

arrived just as we were going to press.

switching from post-pandemic defence to offence

And of course, as we close out the year, the

and identifying how they can improve the guest

entire CTC team and our brilliant magazine team

experience to drive admissions. Faced with the

including the supremely talented Peter and Dean

choice of investing and showcasing value in the

Chillmaid would like to wish you all a very happy

cinematic experience, or lower ticket prices,

Christmas and a healthy and prosperous 2026.

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An official publication of

the unique local economics that some towns,

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CINEMA TECHNOLOGY CONTENTS VOL.38 NO.4 WINTER 25

KEY FEATURES

48 16 20 22 26

KEY NEWS

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CHRISTIE LAUNCHES NEW RGBH HYBRID LASER PROJECTORS AT CINE ASIA New 15,000 and 20,000 lumen projectors for small to medium sized screens.

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31 38

NATIONAL CINEMEDIA ACQUIRES SPOTLIGHT CINEMA NETWORKS Acquisition expands footprint in major cities by 30% whilst onboarding art house and luxury cinemas across North America.

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EVENT ROUND-UPS CT reviews the recent IMIS seminar on Metamerism and takes a detailed look at the Norwegian Cinema Conference in Kristiansand.

GREENSHOOTS: THE ODEON APPROACH Tim Potter investigates Odeon Cinemas Group's approach to sustainability across their European territories.

LET THERE BE LIGHT, CONTRAST, BRIGHTNESS AND COLOUR With HDR becoming a hot topic, Omdia's David Hancock takes a look at the available technologies and asks whether the time is right for its adoption.

WHAT EXHIBITION CAN LEARN FROM THE GARDEN CENTRE Peter Knight takes a look at the evolution of garden centres and how cinemas can apply the same diversification to create new revenue streams.

BEYOND SOFAS AND SPIELBURGERS A look at the recently refurbished Everyman Whiteley cinema in London that delivers technical excellence beneath heritage elegance.

IT'S TIME TO TALK ABOUT PHASE Mark Mayfield from Meyer Sound explains why accurate sound is more than just frequency response.

REEL INTELLIGENCE Artificial Intelligence continues to evolve at such a rapid pace that we provide a snapshot of the latest developments.

MAINTAINING STANDARDS Patrick Von Sychowski looks at how CinemaNext upgraded the BBFC’s screening infrastructure for the diigital age.

FEEL IT IN YOUR SEAT: A LOOK AT HAPTICS IN CINEMA With ISO standards defined for haptics, Peter Knight investigates the possibility of this technology becoming part of the cinematic experience.

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GEARING UP FOR A BILLION DOLLAR REVIVAL Drive-In cinemas are set for a renaissance fuelled by technological upgrades, cultural cachet and global investments.

VISTAVISION LONDON SCREENINGS IMIS's Mark Trompeteler travels to the Odeon Leicester Square to experience the VistaVision screening of One Battle After Another.

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LATEST

CTCUPDATE W O R D S : R I C H A R D M I T C H E L L , P R E S I D E N T, C T C

Roll On 2026!

A

s we look back on an incredibly busy

an issue of late. We first raised this issue at the

we’re planning to run another course in the North

and successful 2025, our team has

Norwegian Cinema Conference in 2024 and have

of England before we turn our attention to

been busy looking ahead to what

been gathering information during 2025. Next

delivering these in local markets.

promises to be an exciting 2026 with a host of

year the team will further investigate this subject

invaluable outputs that we believe will enrich the

through a range of in field testing and seek to raise

More Of What You Love

industry. In June, we celebrated reaching the

awareness of the issue across the industry.

On top of this, you can expect another series of “Ten

significant milestone of surpassing more than

Things You Need To Know” - our landmark short

1,000 members (across more than 90 counties),

Key Projects

audio series, the continuation of our brilliant “In The

since we re-formed the organisation in late-2017.

As laser projection reaches something of a tipping

Pub” Podcast, video content, local market support

Our focus today remains the same as it was

point, the issue of Metamerism hasn’t gone away,

with partner organisations and much more.

eight years ago, to provide easy-to-access

in fact it’s only likely to become more of a problem.

2026 promises to be an exciting year, you can

learning opportunities in various different formats

Our work this year with colleagues at IMIS points

guarantee CTC will be working tirelessly to

to help support the cinema industry. Our team

to the need to focus beyond exhibition and look at

support the industry.

has always maintained that sharing knowledge

raising awareness with post production and we

and best practices supports the sector in driving

intend to make this a significant focus in 2026.

better outcomes for movie-goers which in turn

It is also clear that exhibitors are seeking to

plays a part in growing both box office revenue

streamline their operations and in some territories,

and admissions.

there is a renewed focus on ticketing systems and digital signage and how the integration of these

Sound Levels

can help drive efficiencies. Our team are working

To that end, the team has been steadfast in gather

on providing guidance on the systems available,

information about what our members want and

how these connect to operational systems and the

need to help them succeed.

benefits of these.

Over the past 18 months, there’s been

This year we reinstated our training courses

increasing clamour regarding audio levels in

with a hugely successful event held at the Cinema

cinemas and why this is becoming something of

In the Power Station in London. In the early Spring

CTC EXECUTIVE TEAM RICHARD MITCHELL (PRESIDENT), GRAHAM LODGE (VICE PRESIDENT), JOSEPH BOUTROS, JESSE CHOW, 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, JOHN DOWSLAND, THERESA ENGLISH (TK ARCHITECTS), MARK DE QUERVAIN (INDY CINEMA GROUP), JAN RASMUSSEN (NORDISK FILM), DOMINIC SIMMONS (BFI), ALICE TENTORI (DIGIMA), JULIA VINOKUROVA (REALD).

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Our focus today remains the same as it was eight years ago, to provide easy-to-access learning opportunities in various formats to help support the cinema industry.

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CINEMA-TECHNOLOGY.COM

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OPINION

IMISVIEW W O R D S : D AV I D P O P E , P R E S I D E N T, I M I S

President's Perspective IMIS is excited to launch "Behind The Lens" a new shortform interview series that shines a spotlight on the creative roles driving the moving image industry.

W

hat a season it's been for the

Why Watch:

International Moving Image Society

› Gain

in-depth insight into key creative roles across

(IMIS)- full of insight, connection, and

production and post

the quiet buzz of new ideas taking shape.

› Learn

the skills and workflows that top professionals

A standout moment this Autumn was our Bridging the Gap Between Education and Industry session at CVP.

rely on › Discover

mentorship lessons and practical tips for

Educators, students, and industry professionals came

breaking into the industry

together for an open, engaging conversation about

› Access

evergreen content designed to support

skills, expectations, and the pathways that help emerging

career growth and networking

talent thrive. The energy and dialogue in the room were and

Future-proofing film & TV courses: Bridging the gap between higher education & industry

As we head toward 2026, the IMIS team remains

In November 2025, we hosted a session at

fantastic - a clear reminder of how important it is to strengthen

collaboration

across

learning

professional practice. focused on creating spaces - online and in person - where

CVP's

Education

creativity, technical craft, and collaboration can thrive.

course

leaders

Festival,

Here's to a season of curiosity, growth, and the stories

examine how higher education can remain relevant

we'll continue to shape together.

in an era of rapid transformation across the

and

bringing

industry

together

employers

to

screen industries.

New video series: Behind the lens

Hosted by: Charis Coke, Course Leader MA

IMIS is excited to launch "Behind the Lens", a new short-

Filmmaking, London Film School, panellists included:

form interview series that shines a spotlight on the

Isabella Gray Forrest, Programme Leader BA (Hons) TV,

creative roles driving the moving image industry. Each

University of Bournemouth; Muriel Tinel-Temple,

episode dives into the skills, workflows and mentorship

Senior Lecturer, University of Roehampton; Aidan

that underpin success. Our first three videos explore

McCarthy, Audio Technology Team Leader, Warner

the roles of a DIT, a DoP and a Colourist.

Bros Discovery and Phil Dolling, Former Head of Events, BBC Studios

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Online Knowledge To watch videos of all this year's events, including the IMIS Student Showcase, Colour Truth: Metamersim in Cinema and Future-Proofing FIim + TV Courses: Bridging the Gap Between Higher Education and Industry, visit

MOVINGIMAGESOCIETY.NET

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movingimagesociety.net.

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

Range of Cinema Technology expands with new Christie RGBH projectors

CHRISTIE recently announced the launch of two new RGBH cinema projectors, the CP4415m-RGBH and CP4420m-RGBH at CineAsia in Bangkok. Attendees were invited to experience the new CP4420m-RGBH lighting up the screen and view the CP4415m-RGBH on static display, both showcased in the Christie Theatre.

Featuring the latest 0.98" 4K SST DMD with CineLife+™ electronics and Phazer™ illumination, these new projectors are a compact and costeffective option to deliver bright, bold visuals for small-to-medium-sized screens. The new models are compatible with existing legacy lenses and accessories from lamp-based projectors, to further reduce costs for exhibitors transitioning from lamp to laser.

The CP4415m-RGBH and CP4420m-RGBH feature 15,000 and 20,000 lumens of brightness, respectively, and a configurable hybrid laser light source that is optimized for post-production and stunning visuals on all cinema screen types. The new models are also quiet, at less than 47 dBA, making them ideal for small spaces and boothless installations.

“We offer the widest range of cinema projectors on the market, and with the launch of these new RGBH models, we continue our commitment to exhibitors by developing effective solutions that meet the needs of every cinema screen,” says Allan Fernandes, senior product manager, cinema, Christie. “These new projectors are budget-friendly, feature-rich, and energy-efficient, at three times the efficiency of a comparable lamp-based projector.”

The CP4415m-RGBH and CP4420m-RGBH are available for order now.

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U N I Q U E X A N D I M AGI C A E N T E RTA I N M E N T M E D I A S E RV I C E S , I N C . A N N O U N C E PARTNERSHIP TO REVOLUTIONIZE CINEMA ADVERTISING IN JAPAN

Unique Digital Limited (Unique X), a leading provider of digital

Imagica EMS to represent Unique X’s wider portfolio of cinema-

cinema software solutions, and Imagica Entertainment Media

related solutions. This includes the RosettaBridge TMS (RB) (Theatre

Services, Inc. (Imagica EMS), the market leader in Japan for post-

Management System), part of a comprehensive suite of products that

production and media services, announced the signing of an

provides powerful tools for film distributors and exhibitors to

agreement and active partnership effective November 2025.

streamline digital cinema operations and content delivery.

This strategic partnership establishes the framework for an

Roger Harris, CEO of Unique X confirmed “We are delighted to

exclusive collaboration aimed at transforming and developing the

announce our strategic partnership with Imagica EMS and enter the

cinema advertising business within the Japanese market.

Japanese market with a partner of such prestige, market knowledge

Under the terms of the agreement, Imagica EMS, including its

and excellence of reputation, we look forward to further expanding

affiliated entities, plans to represent and assist Unique X in offering

our business with Imagica EMS across our portfolio of software

its sophisticated suite of products to sales agencies, exhibitors and

solutions.”

consumer brands in Japan. The collaboration will initially focus on Unique

X’s

flagship

advertising

management

Masashi Nakamura, President & CEO of Imagica EMS said “This is

solution,

an exciting collaboration that unites two industry leaders in digital

AdvertisingAccord (AA), along with its advanced Programmatic and

cinema technology and services. By combining Unique X’s best-in-

Self-Service Portal modules. This technology is designed to bring

class solutions with our widely trusted cinema services, we can

new levels of efficiency, optimization, and monetization to the

provide new value to the Japanese cinema community —

theatrical advertising supply chain.

strengthening opportunities for advertisers and enriching the

Furthermore, the partnership will explore the potential for

experience for audiences.”

Sharp Reinforces Commitment to Cinema Industry With Full Integration of Sharp/NEC SHARP DISPLAY SOLUTIONS EUROPE, the audio

global strategy,” Böhm added. From early 2026,

visual technology business division of Sharp Europe,

Sharp will rebrand the current NEC cinema projector

marks a new chapter in its long-standing dedication to

line-up to Sharp, aligning with the new ‘One Sharp’

the cinema industry with the full integration of Sharp/

Digital Experience proposition and updated brand

NEC. This new positioning is an emboldened

identity. This refreshed approach unifies Sharp’s

commitment to the future of cinema technology

expertise, commitment to innovation, and focus on

across Europe as Sharp builds on NEC’s legacy and

supporting clients’ success in a dynamic environment.

expertise to deliver innovative solutions for the

The rebrand will see the introduction of new product

industry. Sharp/NEC has established itself as a leader

and model names in the portfolio by mid-2026.

The transition to Sharp brings strength in

in the cinema market, having delivered its solutions to

“NEC introduced pioneering technologies to the

continuity. The same trusted teams from Japan to

about one in three screens across Europe and

cinema market including the first DCI-certified RGB

Europe remain in place, delivering the same quality,

becoming a trusted partner to exhibitors of all sizes.

laser, laser phosphor, and RB laser projectors,” said

reliability, and expertise partners expect. Sharp will

“Cinema is not just a business segment, it’s a

Jens Kayser, Head of Cinema Solutions Sales EMEA.

continue to support the legacy of NEC cinema

cornerstone of our visual technology legacy and

“We are excited to launch new 2K and 4K laser

products with industry-leading technical services and

future,” said Christof Böhm, President and Managing

projectors suitable for any kind and size of screen

a robust supply of spare parts, ensuring unwavering

Director, Sharp Display Solutions Europe GmbH.

under the Sharp brand next year. We are also looking

support for existing customers. As Sharp moves

“Sharp remains deeply committed to the cinema

forward to introducing a technology that addresses

forward under its unified brand, it invites partners,

industry, investing in innovation, partnerships, and

the demand for better black levels and higher

customers, and industry peers to join the business in

long-term growth. We see cinema as a vital part of our

contrast,” added Kayser.

shaping the future of cinema technology, together.

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NEWS

HDR by Barco Expands Global Footprint to Germany BARCO, the global leader in laser-powered cinema,

current premium offerings at Cineplex Paderborn

and Cinedom—two of the country’s most respected

announced the expansion of its premium HDR by

and Cineplex Münster to take the moviegoer

cinema brands,” said Gerwin Damberg, EVP of

Barco format in Germany, launching this November

experience to the next level of technological

Barco Cinema. “As someone who grew up in

with installations at select Cineplex Germany

innovation. Cineplex Münster, also celebrating

Germany, this milestone is personally meaningful.

locations, and in Cinedom Cologne. This expansion

25 years of operation this month, will be the

It’s exciting to see our vision and technology come

marks a major footprint in European moviegoing, as

first theater in the world with two HDR by Barco

full circle, enhancing the cinematic experience in the

Cineplex

enabled auditoriums.

very theaters that once inspired my love of film.”

is

a

leading

German

exhibitor,

and Cinedom Cologne is one of the country’s largest cinemas.

At Cinedom Cologne, the new HDR theater will

launch

the

circuit’s

new

Based on the company’s patented Lightsteering

“CinedomX”

technology, Barco’s approach to HDR works by

As part of the international expansion, HDR by

experience, a freshly conceived premium cinema

strategically redistributing light on screen to

Barco is launching at three Cineplex Germany

concept from the brand. Installations are now

produce highlights that are over 6x brighter than

venues - Cineplex Münster, Cineplex Paderborn

underway so moviegoers in Germany can enjoy

traditional projection, while retaining rich details in

Pollux, and Cineplex Goslar - available as

major holiday tentpoles opening in HDR by Barco

the darks for greater depth, clarity, and range. HDR

“ULTIMATE. in HDR by Barco” at these locations. The

this holiday season.

by Barco delivers expansive creative possibilities for

initiative will bring premium large format cinema to

“We’re proud to bring HDR by Barco to German

Cineplex Goslar for the first time and build on the

audiences through our partnerships with Cineplex

filmmakers, producing a wide color gamut with high-contrast images that captivate audiences.

N AT I O N A L C I N E M E D I A , INC. ANNOUNCES S T RAT E G I C ACQUISITION OF SPOTLIGHT CINEMA NETWORKS

National CineMedia announced in November that it had acquired Spotlight Cinema Networks, the only U.S. cinema advertising company dedicated to serving art house, luxury, and dinein exhibitors. The acquisition of Spotlight adds high-scale luxury screens and exhibitors that offer

unique

and

engaging

customer

experiences to NCM’s platform, unlocking new advertising

and

preshow

entertainment

inventory across theaters nationwide.

Spotlight’s exhibitor partners, including Cinépolis Luxury Cinema, Landmark Theatres, Flix Brewhouse, and LOOK Dine-In Cinemas, complement NCM’s national theater network and extend NCM’s reach among culturally engaged premium audiences. The addition of Spotlight’s footprint increases NCM’s national

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NEWS

Meyer Sound Astrya Advances Sonic Presentation at the Samuel Goldwyn Theater

MEYER SOUND was proud to be featured at the

showed me how sound could bring storytelling to

Samuel Goldwyn Theater in Beverly Hills, the

life. Years later, collaborating with Francis Ford

Academy of Motion Picture Arts and Sciences’

Coppola on the theatrical presentation of

premier screening venue, which recently completed

“Apocalypse” Now proved to me how far that idea

a significant upgrade to its sound system. This

could go. Experiences like these shaped my belief

upgrade includes five Meyer Sound ASTRYA-140

that sound should reach audiences exactly as the

screen channel loudspeakers and reinforces the

artist intended. That’s the essence of linearity, and

theater’s longstanding reputation as a leading

it’s what we’ve achieved at the Goldwyn.”

reference environment for film presentations in the motion picture industry.

Linearity—consistent, accurate reproduction of sound across its entire range, at any amplitude—has

The Academy’s 1,000-seat Goldwyn Theater is

defined Meyer Sound’s design philosophy since its

regarded as one of the world’s most technically

founding. In cinema, where the mix is fixed and

accurate screening rooms. Since opening in 1975,

every dynamic and timbral detail must translate

the venue has undergone just two other major

perfectly from the dub stage to the theater, linearity

screen channel upgrades, each marking a milestone

is essential. The new system features five

in the evolution of cinema sound. The new Meyer

ASTRYA-140

Sound system continues that tradition, advancing

positioned behind the projection screen. The front

the Academy’s commitment to presenting films

array delivers wide dynamic range, exceptional

exactly as their creators intend them to be heard.

clarity, and seamless tonal consistency across the full

screen

channel

loudspeakers

“Our mission is to ensure that the Samuel

width of the screen, forming the foundation for the

Goldwyn Theater remains the gold standard for

theater’s immersive playback environment. The

market share by approximately 6% and expands

cinematic presentation,” says Brendan Connell, Jr.,

installation also marks the first use of Meyer Sound’s

its theater presence by 30% in the critical New

Chief Operating Officer of the Academy and

new USW121P high-power subwoofers. Eight units

York and Los Angeles markets.

General Counsel for the Academy Foundation.

reproduce the low-frequency effects (LFE) channel,

“Every upgrade is guided by a single principle:

and another two units supplement surround

fidelity to the filmmaker’s vision. This latest

bass management.

“The acquisition of Spotlight Cinema Networks strengthens our network and expands access to luxury audiences, enhancing the value of our platform for premium advertisers,” said Tom Lesinski, Chief Executive Officer of NCM.

installation reflects our continued investment in that ideal.”

“ASTRYA was developed through close collaboration with Hollywood’s leading post-

our

differentiated

targeting

and

Richard Martinez, the Vice President of

production engineers,” says Meyer Sound Senior

measurement

capabilities,

we

“With

well-

Academy Theaters, emphasizes that maintaining the

Vice President John McMahon. “Its installation at the

positioned to unlock the full value of Spotlight’s

Goldwyn’s status as a leader in cinematic technology

Goldwyn confirms that what mixers hear in their

inventory, capture new revenue opportunities,

requires constant focus. “Consistency and evolution

studios can now be experienced by audiences with

and advance our leadership in the cinema

are considerations we evaluate daily,” he says. “The

the same precision and balance. It delivers a

advertising marketplace.”

Goldwyn has always epitomized the state of the art,

consistent, truthful sonic experience from creation

and we must continually address that. Technology

to exhibition.”

are

NCM expects to realize the full run-rate synergies over the course of 2026. On a pro forma basis, the transaction is expected to be

doesn’t remain static, and neither can we.”

For Meyer Sound, the installation at the Samuel

That commitment to progress was underscored

Goldwyn Theater represents both an honor and an

during system evaluation and tuning. “When we

act of stewardship, notes Director of Cinema

played dialogue with no picture, the voices felt as if

Marketing Mark Mayfield. “This is where

and

they were in the room with me,” Martinez recalls.

filmmakers, mixers, and Academy members

management’s commitment to delivering long-

“I’d never felt that before; it almost felt like the space

evaluate the work that defines cinema itself, and

term shareholder value. This transaction is

between me and the screen disappeared.”

being entrusted with that environment sets an

accretive to shareholders, with a purchase multiple of 4.5x pro forma EBITDA. This underscores approach

the to

Company’s capital

disciplined

allocation

aligned with NCM’s long-term growth strategy

For Meyer Sound President and CEO John

extraordinarily high bar. For Meyer Sound, meeting

and supports near-term priorities, including

Meyer, the project carries both personal and

that expectation is not only a point of pride but a

reinforcing the Company’s commitment to

professional resonance. “My fascination with

responsibility to deliver tools and technology that

strategic investment and sustainable growth.

cinema sound started early,” he says. “My uncle

uphold the standards of the art form and help shape

worked on “Fantasia,” and hearing that film as a child

its future.”

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NEWS

Kinepolis Signs Agreement to Acquire the Operations of US Movie Theatre Chain, Emagine Entertainment KINEPOLIS (EURONEXT: KIN) has reached an

with 4K laser projection and Dolby Atmos sound,

with a high-quality asset in a market where we have

agreement to acquire the operations of the US

while Super EMX takes the experience even

had positive experiences with our Kinepolis

movie theatre chain Emagine Entertainment.

further with an even larger screen and 64-channel

concepts. The location and size of the cinemas

Kinepolis expects to complete the acquisition by

Dolby Atmos sound for a truly immersive cinema

make them a valuable addition to the Group’s

the end of the year. As a result of this agreement,

experience.

portfolio, allowing us to expand our presence in

Kinepolis will add 14 cinemas to its portfolio,

Emagine Entertainment also provides support

the US market and strengthen our national

representing 177 screens and 18,000 seats,

services to a chain of cinemas in Minnesota and

structure. We are excited to welcome the new

located in Michigan, Illinois, Indiana, and

Colorado, as well as Emagine Woodhaven and The

teams to the Kinepolis family.”

Wisconsin. Emagine Entertainment welcomes

Riviera in Michigan. These locations operate under

Paul Glantz, Chairman and CEO of Emagine

approximately 6 million visitors per year,

the Emagine brand and are managed by third

Entertainment: “Kinepolis has a reputation for

generating nearly USD 129 million in revenue. The

parties through a brand licensing agreement.

operating exceptionally well-run cinemas both in

cinemas are equipped with recliner seats and

Eddy Duquenne, CEO of Kinepolis Group

Europe and in North America. Their commitment to

offer their own Premium Large Format (PLF) under

“With the acquisition of Emagine Entertainment,

providing guests with an unforgettable movie

the names EMX (14 auditoriums) and Super EMX (3

we are back on track with the execution of our

experience makes them the ideal suitor to continue

auditoriums). EMX features wall-to-wall screens

expansion strategy since the pandemic. We do this

the stewardship of Emagine into the future.”

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NEWS

NEWS

Showtime Analytics Announce Agreement Showtime Analytics With Balkans Largest Announce Agreement Chain Blitz-CineStar With Balkans Largest Chain Blitz-CineStar

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

Blitz-CineStar, founded in 2003, is the leading

and digital marketing platform across their 28 sites.

IMAX and Cinemark Strike Blitz-CineStar, founded in 2003, is the leading Croatia, Bosnia and Herzegovina, Serbia and Kosovo. cinema operator in Croatia and the region, spanning IMAX and Cinemark Strike Agreement for IMAX With Laser Featuring 182 state-of-the-art halls, including IMAX, 4DX, Croatia, Bosnia and Herzegovina, Serbia and Kosovo.

Agreement for and 70mm Screen X and Gold IMAX Class, CineStar sets the IMAX standard for With Laser Featuring 182 state-of-the-art halls, including IMAX, 4DX, cutting-edge technology and CineStar premium cinema Screen X IMAX and Gold Class, sets the standard for and 70mm IMAX AND CINEMARK announced commitment to the very best of what

cinema operator in Croatia and the region, spanning

experiences.

Recognised for innovationand and quality, it hascinema cutting-edge technology premium in October an agreement spanning

IMAX has to offer — both IMAX with

17 Cinemark locations in the United

Laser and IMAX 70mm film —

earned numerous awards, including “Best Cinema in it has experiences.

Recognised for innovation and quality, Europe” by UNICnumerous in 2019,awards, and continues deliver earned including to “Best Cinema in

States and South America, bringing underscores the value we’re exceptionalEurope” entertainment to over 4.5 million visitors annually.

by UNIC in 2019, and continues to deliver new IMAX with Laser and IMAX delivering for our exhibition partners exceptional entertainment to over million visitors annually.

With their commitment to delivering an4.5 unparalleled theatre experience to 70mm film systems to the Cinemark in today’s marketplace,” said Rich With their commitmentwanted to delivering antheir unparalleled theatre their customer base, Blitz-CineStar to use first-party dataexperience to help to network. Under the terms of the Gelfond, CEO of IMAX. “With a their customer base, Blitz-CineStar wanted to use their first-party data to help them understand howCinemark their business across the agreement, will: was performing tremendous slatemetrics ahead that in 2026 them understand how their was performing across theloyalty. metrics that mattered to this data to business drive engagement and › Add them,4 and newuse laser systems in thecustomer highlighted by a number of Filmed mattered to them, and use this data to drive customer engagement and loyalty.

They reached outand to Showtime Analyticsone to evaluate platform USA actively explore for how IMAXtheir andcloud IMAX 70mm film They reached out to Showtime Analytics to evaluate how their cloud platform could help them do this.location in South additional releases, we look forward to could help them do this.

America working withintegrating Cinemark their to deliver By migrating from their existing email marketing tool and By migrating from their existing email marketing tool and integrating their U pgrade 12 existing systems to allow the them mostto bring immersive cinematic customer ›data to Showtime Engage, it will individual customer data to Showtime Engage, it will allow them to bring individual laser, making the entirety of experiences to its customers customer behaviors, touch points and purchase activity together to create a and customer behaviors, touch points and purchase activity together to create a Cinemark’s U.S. IMAX footprint Having growing the value about of our single view of their identifiable movie-goers. all this information single view of their identifiable movie-goers. Having all this information about laser enabled. longstanding partnership.” their different and theirand shared it will give the the theircustomers different customers their behaviours, shared behaviours, it willthem give them › Cinemark will also activate 3 “We’re pleased to expand our ability to create send targeted, personalised digital campaigns to different abilityand to create and send targeted, personalised digital campaigns to different additional 70mm film projection partnership with IMAX as part of our segments, segments, driving customer engagement and loyalty.

With the closed loop loop driving customer engagement and loyalty.

With the closed systems. broader strategy to offer a range of integrationintegration with their POS this will them to them trackto conversions and revenue with their POSallow this will allow track conversions and revenue The 70mm film projection elevated cinematic experiences each campaign, putting better control of where to focus uplift from uplift each from campaign, putting them in them betterincontrol of where to focus systems will be located in Cinemark across our circuit,” said Sean their marketing their marketing efforts. efforts.

Seven Bridges in the Woodridge Gamble, Cinemark President and Mrs Jadranka Islamovic, CEO CineStar Cinemas saidpartnership: of the partnership: Mrs Jadranka CEO Cinemas said of the suburb Islamovic, of Chicago, IL; CineStar Cinemark CEO. “Upgrading our IMAX “As the best and largest cinema in our region with more than 22 years of “As the best and largest cinema in our region with more than 22 years of and Carefree Circle in Colorado Springs, locations to IMAX with Laser operation, CineStar has become a synonym for cinema in our territory. We have operation,CO; CineStar become a synonyminfor cinema in our additional territory. We70mm have film and has Cinemark Tinseltown activating a duty to provide each of our visitors with the best value for money through a duty to provide each ourthree visitors with the best value for moneyexpands through and Rochester, NY.ofAll locations systems further superior service and satisfaction, and to always provide the best and largest are setand to satisfaction, be operational enhancesthe thebest immersive options we superior service andbefore to always provide and largest selection of films, in technologically superior halls and the most comfortable Academy-Award winning director offer our guests.

These upgrades selection of films, in technologically superior halls and the most comfortable seats, the always constant quality of CineStar Cinemas. The values on which we Christopher Nolan’s “TheofOdyssey” reflectThe ourvalues commitment to delivering seats, the always constant quality CineStar Cinemas. on which we base our long-term success are quality, service, trust, innovation and — the first theatrical release shot high-quality, differentiated base our long-term success are quality, service, trust, innovation and understanding of the needs of our visitors. We hope that with Showtime entirely in IMAX film — arrives in experiences that drive greater value understanding of the ofunderstand our visitors. hope that withallShowtime Analytics, weneeds will now ourWe visitors even better, to improve our theaters in July 2026. perception, loyalty, and frequency Analytics, we will now understand our visitors even better, all to improve our relationships with customers, their loyalty and ultimately increase visits.”

“Cinemark expanding its across all types of films.”

relationships with customers, their loyalty and ultimately increase visits.” w w w. c i n e m a - t e c h n o l o g y. c o m

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www.cinema-technology.co

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

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

I’ll end on two pieces of advice I was given

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

Pick your battles… don’t die on your incredible people across Pick your battles… don’t die on your incredible people across sword. A few years into my role at Warner the globe.

Looking for Qube Wire to become the World’s largest electronic content sword. A few years into my role at Warner the globe.

Looking for Bros, I had just started taking over trailer better ways to work Bros, I had just started taking over trailer negotiations. During a back-and-forth with Qube Wire’s Electronic Delivery 1,000 delivery network to cinemas better waysNetwork to work Now Includes together that can help negotiations. During a back-and-forth with one of my exhibitor friends over placement together that can help Locations in North America of my passionate exhibitor friends over placement anyone. hope I can QUBE WIRE CINEMA, A LEADING PROVIDER innovative networkIhas consistently delivered faster, one who about had the domain, Qube CT: How have your previous experiences for a are release that barely any admissions, anyone.

I hope I can CT: ofHow have your previous experiences for a release that barely had any admissions, end-to-end cinema technology solutions, more cost-effective solutions for content delivery, continues to revolutionize cinema exhibition and prepared you adigital for your newin role? heVice said, “Pick your Relations. battles.”

I understood valuable QUBE WIRE, global leader cloud-based digital cinemabring distribution,something recently themselves,” said Kristin Kielpinski, President, Exhibitor “Our team is prepared youa for your agreement new role?to acquire a 100% bring hedistribution said, “Pick your battles.”reliable, I understood something valuable has signed definitive saving millions compared to traditional methods.

At with cutting-edge, and costI think because I’ve beeninstallation so luckyofto haveQube had WireTAP immediately, and it resonated with me. announced the successful 1,000+ as they come online.” toelectronic the content table.“available 24×7 to support exhibitors I think because I’ve been soTech, lucky toMetaMedia have had is to and itWith resonated withtome. stake in career.

MetaMedia (MMT Inc).

Qube, we’ve leveraged this technology to bring immediately, effective solutions. technology service the the table.“ a varied From being on the studio side I’ve kept thisonin mind inshowtimes everything delivery appliances across theaters in North America. With this expansion, the Qube In the new reality where movies are often booked Monday for on I do a varied career.

Fromlargest being on the studiocontent side I’ve kept this in mind in everything I do America’s cloud-based Indian featureyour films favourite to North American with world’s greatest exhibitors, CT: What’s aspect of working toNorth growing in the side.

I feel i understand since.

Wire network now tech includes cinemas at the top 15 largest US cinema chains.

Friday, reliablecinemas electronic deliveryever is critical.

Qube willcontent continuecreators to expandand across the CT: What’s your favourite aspect of working to growing in the tech side.

I feel i understand ever since. delivery platform tothat cinemas. this acquisition, speed andthrough precision, sizeto and number Qube continues toany introduce to the is the cinema industry? the pain points customers face. our in Don’t burn bridges.

This industry “Partnering with Qubemy WireWith has truly transformed operations theexpanding Unitedthe States further simplify content delivery for both cinemas andinnovations distributors.

in the cinema industry? the Qube pain Wire points that myworld’s customers Don’t burn connected any This industry is becomes the largest face. cinema of Indian releases bycourse!

3x in the last five years.

With the cinema ecosystem thatbridges. aretheaters. reshaping cinematic service’s and exceptional support,” said Regal’s Brandon Corrier, Film Qube Wire now has about 6,000 Thethe service The cinemas of IGlobally, love to visit my Because I reliability faced them. still quite small, and we all rely on the Theaddition of course!

I love to toset visit Because faced them. quiteforfor small, and worldwide. we uncompromising all rely on electronic delivery network over 5,000 cinemas ofplaces MetaMedia, ourcontinues combined will still experience audiences Qube Wirethe has Buyer.I “The efficiency of thewith Qube Wire system empowers uscinemas to focus more on town. newmy industry standards faster favourite in I love to strengths escape into relationships weturnaround, build.

You never know what places in town.

I love to escape into relationships weconsistently build. Yousince never know what connected across 51 countries.

In the United States, favourite set a new standard in cinema content delivery for been growing launching as a less on logistics.” security, and unmatched flexibility for distributors CT:strategic As thebookings newestand member of the CTC board, a film, melt away any stress.

It’s the best fun, will happen, worldwide. so it’s never worth burning those network will provide to 9 of theManager many moreaway distributors and create value will global cloud-based distribution early CT: the As merged the member of the CTC board, a film, any stress.

It’sunparalleled the best fun, happen, so it’s never worthplatform burninginthose Alannewest Vieyra, Projection and ITcoverage Support Services of melt Cinépolis Luxury what are you looking forward to most? even when I watch a horror. If you’ve ever sat bridges down. top 10 you largest cinema chains.atQube will for when the global movie 2017.at Today, Qube Wire powers the supply chain for what are looking forward to most? even I watch aindustry.” horror. If you’ve "Everyone ever sat bridges down.

Cinemas, added, “Everyone Qube Wirecontinue has beentoincredibly responsive, going Qubethe Wire has been Oh my gosh, the community. Sharing knowledge next to me during a horror, you’ll know how Ultimately, connections you make above and beyond to help.

We also utilize theplans Qubeand Wire network tome deliver internal execute MetaMedia’s existing deployment nearly four decades, Qube Cinema hashow been many major content including all the Oh my gosh, the community.

Sharing knowledge next toFor during a horror, you’ll know Ultimately, the distributors, connections you make incredibly responsive, going above between this group of incredible people across ridiculous I am. and the experiences you gainand can lead marketing and event information to our theaters, which has really helped us maximize service its customer agreements. a trailblazer in the global filmmaking and exhibition major Hollywood studios.

Qube Wire also delivers between this group of incredible people across ridiculous I am. and the experiences you gain can lead the globe. Looking for better ways to work to incredible beyondopportunities, to help." so operational efforts. whole company seen the benefits of partnering “The acquisition ofOur MetaMedia is a huge move industries.

Qube with is one of a handful of companies in toover 95% of all the Indian movies released around the the our globe.

Looking for better ways tohaswork incredible opportunities, so CT: What advice would you give to someone together that can help anyone. I hope I can definitely embrace every moment and Qube Wire.” for Qube’s North American operations,” said Harsh the world that has developed a DCI-certified digital world.

With its regional partnerships and automated CT: What advice would you give to someone together that can help anyone. I hope I can definitely embrace every moment and considering a career in this field? bring something valuable to the table. every interaction!

SinceCEO January Qube Wire has added an average of 17 new theatres per Rohatgi, of2025, Qube “MetaMedia’s cinema server.

With a team of about 1,000 employees every hard interaction! drive duplication hubs, Qube Wire provides considering a career in this field? bring something valuable toCinema. the table. week. “We’ve simplified our installation process, and the results speak for

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CTEVENTS REPORTS AND REVIEWS OF GLOBAL INDUSTRY EXPOS

IMIS Metamerism 2026 makes it difficult to distinguish shades of red, green and yellow. It affects around one in 20 men, far fewer women.

With a metameric issue confirmed, it was time to move the conversation in the room towards standardisation. Is it possible, or desirable?

Peter Wilson, Digital Cinema Pioneer & Founder, HDDC, moderated a discussion looking at the technical, operational and commercial issues in the cinema industry caused by metamerism being manifested by narrow band direct laser projectors. He established that with EBU promotion of the Rec.2020 TV Colour Space, issues with colour perception extend from cinema to TV. He also raised issues from

T

metamerism alongside other concerns, primarily he afternoon of the 22nd October saw the

Taking the baton, colour management and

International Moving Image Society bring

display consultant John Frith talked about the

speckle,

the

phenomenon

of

on-screen

micro-reflections.

together technologists and creatives at

challenges that metamerism brings to display

On the panel was deuteranomolous ‘observer X’

Dolby’s Screening room in Soho Square, London to

calibrations. He described “a calibration Wild West,”

who sees footage projected with RGB laser as

spark a conversation around the phenomenon of

with most displays needing a white point offset,

distinctly pinker. Observer X, also known as Adrian

metamerism, and the issues that it creates for viewers

linked to standards set in 1931 when there were

Bull, CEO, Cinelab Film & Digital who is now keenly

and screen professionals.

minimal light sources. Concerns have become

aware about differing colour perception and always

focused on RGB laser projectors and wide gamut

asks about the display technology explained that “I’ve

displays, and on monitors.

come to the conclusion that I don’t comment on

Dr David Simmons, an expert in cognitive perception, gave a scene-setting talk. Dimming the lights, he used on-screen images to show how we

18 months ago the MPC theatre in London

perceive colour differently depending on how

hosted an experiment to match RGB laser projection

images are presented and our own particular eyesight.

with Xenon lamp projection. After a day of testing,

Real World Perspectives

Colour Perception Explained: A Playful Guide

there had been broad agreement in the room that

Mike Bradbury, Head of Cinema Technology for

explored the role of colour in early human survival,

the two were matching. “Then ‘observer X’ walked

Odeon Cinemas Group has had concerns about RGB

concluding in the world of colour-critical cinema

in”, said Frith. Observer X saw two very different

laser projectors for at least ten years and had steered

workflows and spotlighting flaws in any theory about

displays. The team realised that this exception was

the Group towards RB laser or laser phosphor

“colour truth.”

down to deuteranomaly, an eyesight condition which

“because we got much more accuracy.”

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people’s grading anymore,”.

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METAMERISM

From Capture To Post Production

And he’s an advocate of deciding and testing

Digital Systems countered that RB laser has limitations

Equipped

technology as far as possible in advance of a shoot.

in terms of contrast ratio. “It’s been very challenging

technologists and practitioners at the heart of the

Zeb Chadfield, Chief Vision Officer at post house

for any projector manufacturer to be able to achieve

industry, it was time for the view of the film-maker. A

The Finish Line explained that, “I’ve probably spent

something that is affordable for the cinema on a

panel that held perspectives from capture to post-

two decades yelling metamerism at my emails and

commercial basis, but at the same time, be able to

production was led by cinematographer Balazs

then having to come up with a polite way to

overcome all of the issues.” He gave a heads up that

Bolygo BSC.

communicate that the screen that they’re looking

Mark Kendall, Regional Sales Manager, Christie

Christie has new projection technology coming in 2026 that will, in part, address concerns.

DoP Kommer Kleijn made a plea to the industry to

with

insight

from

distinguished

What are the challenges of achieving consistent

at something on is by no means accurate or

colour fidelity across varying lighting conditions,

representative of what we have in our grading

lenses, and display devices, on set and on location?

theatres.” The Finish Line has just one display

address the integrity of colour as far as possible,

Cinematographer Mari Yamamura shared her

technology in its rooms. “For us metamerism is a

adding that similar colour perception anomalies occur

concern about shifts in colour, from selecting the

huge thing,” he said, mooting the idea of testing

in older people. “When we make a movie, we invest

camera, lighting conditions and monitors. She

creatives for colour perception anomalies.

huge energy, time and effort in controlling these

explained how skin tones are a major concern.

Rounding out the afternoon, the conversation

colours exactly,” he said. “It’s a part of the essence of

“Hopefully the new technology can produce better

was grounded by insight from Chief Analyst, Cinema

what we’re trying to do. We want this story to move

rendition,” she said.

and Movies, Omdia Insight, David Hancock. With the

your heart and your soul as a viewer in the most profound way.”

“Probably our biggest fear or challenge is to

latest data (for 2023) showing record levels of

make sure that the goals that we’re chasing are valid

production- 9,500 films made for cinema alone - his

Senior Director of Engineering for Dolby, Trevor

goals in terms of the creative environment, and not

intelligence underscored the continued business

Davies, then shared the feedback that Dolby had

just technical goals,” said Kevin Shaw, Head of

case for investing in next-generation technologies.

collected about observer metamerism in the

Colour, Mission Digital. He echoed a widely-held

Hancock also showed how the roll-out of laser

workflow with laser projectors. “Our internal studies

view that one person in the creative process –

projection has already passed a tipping point. The

show that using new colour matching functions does

probably the DoP, director or colourist - needed to be

technology arrived in the market around ten years

improve things, and we absolutely would love to

responsible for the colour. “As a colourist, and in my

ago; by the end of 2024, one third of all screens had

move to new CMS in calibration equipment,” he said.

position at Mission, where I’m overseeing workflows

laser projection installed. With laser projection giving

“But don’t expect it to fix your observer metameric

from production through to post-production, the

operational efficiencies and higher light output, it’s

failure.” At the heart of Dolby’s exploration was the

most important thing is to have a single point of view."

unlikely there will be any significant changes to the

colourist’s experience. “One particular studio had

“It’s quite an ask to expect everybody to have the

calibrated their projector for their specific colourist,”

same experience, no matter where they are, whatever

However, as Dolby’s Trevor Davies indicated,

related Davies. This pragmatic approach is one that

device they’re on.” For Shaw’s work, colour

there is a case for more help and awareness of the

Dolby is now exploring.

management systems have been a game changer.

metamerism challenges in post-production.

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roll-out due to any metamerism issues.

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Innovation and Atmosphere: Norwegian Cinema Conference

K

ristiansand Cinema hosted the annual

in a rapidly changing market. His remarks framed

Norwegian

Conference,

the industry as adaptable and forward-looking,

organised by Film + Kino, bringing

setting a confident tone for the days ahead.

together exhibitors, technology providers, and

Patrick Von Sychowski followed with a detailed

industry leaders from across Europe. Split between

exploration of audience behaviour, charting how

a main programme and a technical conference, the

viewing habits have shifted in recent years. His

event offered a comprehensive look at the

analysis provided valuable context for exhibitors

challenges

seeking to understand and respond to evolving

and

Cinema

opportunities

facing

the

sector today.

consumer expectations.

The main conference began with keynote presentations and youth-focused sessions, while

Exhibitor Innovations

the technical conference opened midweek —

The technical conference began with two exhibitor

shifting

case studies that demonstrated how creativity and

the

conversation

decisively

toward

innovation, design, and technology.

operational improvements can directly impact admissions and revenue.

Setting the Tone

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Kadri Kaldma of Apollo Cinemas in Estonia

The opening keynote by Tim Richards, CEO of Vue

presented a model built on customer convenience

International, underscored the resilience of cinema

and choice. Self-service kiosks streamlined the

w w w. c i n e m a - t e c h n o l o g y. c o m

NORWEGIAN CINEMA CONFERENCE

road to a more sustainable future in cinema.

MacDonald introduced the UK Cinema Carbon Calculator, Purvis focused on automation both inside and outside the booth, and Kendall outlined the operational and cost differences between lamp and laser projection.

Mike Bradbury then led an open discussion on equipment upgrades, which highlighted the different considerations for smaller operators compared to larger chains such as Odeon.

Design and Architecture The programme then shifted focus to cinema design

and

architecture.

Piotr

Gieraltowski

presented striking before-and-after photographs of past projects, demonstrating the transformative impact of design — whether through simple interventions such as a fresh coat of paint or fullscale rebuilds.

This session set the stage for a series of ticketing process, while varied seating options

cinema from home viewing and ensuring audiences

presentations on acoustics in cinemas and cultural

catered to different audience preferences. The

continue to value the big-screen experience.

buildings. Best practices were shared to ensure

result was clear: increased admissions and stronger

that sound quality is optimised across different

revenue. Thomas Ruettgers of Emotion Kino in

CTC Partnership with Film + Kino

environments, reinforcing the importance of

Monheim (Germany) offered a contrasting but

Continuing a partnership that has blossomed over

design not only for aesthetics but also for

equally compelling vision. His team focused on

many years, CTC once again took over the

technical performance.

atmosphere, using lighting and architectural design

programming from the first evening of the technical

to create a cosy, welcoming environment. The

conference.

Conclusion

cinema became not just a place to watch films, but

The evening featured a live edition of In The

The Norwegian Cinema Conference once again

a community hub where visitors could drop in

Pub With Mike Bradbury, joined by regular

proved itself a vital forum for discussion and

for coffee. Ruettgers also highlighted the success

contributors Kevin Markwick and Toni Purvis,

exchange. The main conference addressed

of a targeted social media campaign, which

alongside guest Ørjan Taule from Unique X. The

strategic themes such as audience behaviour and

attracted 5,000 new followers in a short period —

lively

audience

youth engagement, while the technical sessions

outperforming traditional advertising in print media.

participation, with topics ranging from readiness

showcased exhibitor ingenuity, advances in the

for Avatar 3 to the merits of RB versus RGB laser

premium cinema space, and topics such as sound

technology.

and architecture.

Technology at the Forefront The

technical

programme

continued

discussion

encouraged

with

Thursday morning continued with a practical

presentations from Dolby, Christie, and Barco, each

demonstration by CTC Governor David Pope,

structured

showcasing their latest developments in the

building on his 2024 presentation on sound levels.

Kristiansand Cinema provided a fitting stage for

premium cinema space. Discussions centred on

He explored the challenges of playing back content

the discussions. Overall, the conference offered a

contrast ratios, peak luminance levels, and dynamic

at reference level and invited questions from the

positive and constructive contribution to the

range — technical parameters that directly influence

audience,

ongoing dialogue about cinema’s role as both a

the quality of the cinematic experience.

informative and interactive.

ensuring

the

session

was

both

Film + Kino’s organisation ensured a welland

engaging

programme,

and

cultural institution and a commercial enterprise.

These sessions highlighted the ongoing

This was followed by a trio of presentations

CTC were once again honoured to play such a

commitment of technology providers to push the

from CTC Directors and Governors Adam

prominent role in delivering content to the

boundaries

For

MacDonald (Sharp), Mark Kendall (Christie), and

Norwegian market, and would like to sincerely

exhibitors, the message was clear: maintaining

Toni Purvis (Barco), which highlighted practical

thank the Film + Kino team for their generous

technical excellence is essential to differentiating

technologies that could serve as quick wins on the

support and warm welcome.

of

presentation

standards.

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GREENSHOOTS WORDS: TIM POTTER, FOUNDER, TRIGAGE.

The Odeon Approach A

s we head into the winter months

A particularly smart innovation is the roll out of

This isn’t just a top-down effort. The ‘Power

after a summer full of European

integration with VISTA POS scheduling, starting

Protectors’ initiative puts responsibility into the

heatwaves and high AC energy bills,

with the UK & Ireland and Italy. This integration

hands of cinema teams, giving them live

cinema

means HVAC systems follow film schedules —

dashboards and base-load comparisons to take

sustainability, both environmental and economic.

cooling and heating only when required. The next

ownership of energy performance. In short: it’s

In this issue, we turn to Odeon Cinemas Group

step from there? Integrating ticket sales data to

operational accountability, gamified.

(OCG), Europe’s largest cinema operator, to

optimise

explore

occupancy numbers — a clever way to balance

Waste, Water and What’s Next

comfort with carbon.

OCG’s waste management review is scheduled for

the

spotlight

how

remains

they’re

firmly

on

approaching

energy

management, emissions reduction, and wider

climate

control

based

on

guest

2026, but progress is already underway. The

environmental responsibility — across borders,

Power, Platforms and People

challenge? Waste regulation is fragmented —

We recently spoke with Lee Gullick, Group

Odeon’s data strategy goes deeper still. OCG is

differing not just between countries, but between

Sustainability & Energy Senior Manager at OCG,

now investigating AI devices and Internet of Things

individual local authorities. To tackle this, they’re

about their strategic and operational progress.

(IoT) solutions for some F&B equipment and are

trialling various recycling bin models alongside

What emerged was a refreshingly holistic approach

looking more widely at how AI can play a part in

awareness campaigns, including an in-cinema DCP

—

achieving greater business efficiency, particularly

ident to promote guest engagement.

brands and building types.

combining

smart

technology,

local

empowerment, and a culture of transparency.

Energy Strategy: From Power Purchase to Precision Control

in energy management. Data will feed into a

Textile recycling is also in play in the UK, with

centralised hub to support operational decisions at

old staff uniforms being kept out of landfill

both country and group level, aligned with set

through specialist contracts.

energy reduction targets.

low-carbon alternatives, such as more sustainable

In 2024 OCG completed a major move in Spain, shifting their Cinesa circuit onto a 100% renewable electricity contract via a power purchase agreement. It’s a strong statement of intent — but also one part of a much broader strategy.

Solar PV is now in place in some recent new builds and some older cinemas (e.g. Italy, Spain and UK), with plans to expand further whenever they can. On that note, OCG also embed a number of internal sustainable design elements into their new builds and Luxe refurbishments. And behind the scenes, they have developed remote access to

In terms of packaging, trials are ongoing for

"It's clear that OCG isn't just focused on reducing emissions, they're building systems and cultures that will scale. From BMS integrations to branded cups, it's the kind of joinedup thinking our industry needs a lot more of"

nacho trays. In Germany and the Nordics, reusable drinks cups are in place (with all the expected shrinkage and cleaning logistics), while deposit return schemes are live in Finland, Sweden, Norway and Ireland and due to roll out in Portugal next year. Swedish guests can even buy branded cups to use on future visits.

OCG is also trialling two types of waterless urinals, looking not just at water savings but at the long-term maintenance cost reductions — a sensible double win.

HVAC and Building Management Systems (BMS),

They have also partnered with Too Good To

allowing them to track energy use and auditorium

Go (TGTG) in the UK, Spain and Italy to reduce food

temperature in real time.

waste (i.e. unsold food going to landfill). Our

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ENVIRONMENT

research suggested that the TGTG app is now the

for certification.As cinemas evolve into flexible,

3rd most popular food and drink app in the UK

event-capable

is

Social and Governance (ESG) Steering Group has

(iOS), ahead of McDonalds, Starbucks and Just Eat.

increasingly becoming a differentiator for B2B clients.

been established with representation across their

venues,

eco-certification

OCG will continue to trial and find the best

At a governance level, an Environmental,

three core European territories, helping to embed

solutions for waste, ultimately some will work and

What’s Coming Next?

some won’t.

OCG is aiming to get a holistic group wide view of

accountability at the top.

Scope 1, 2 and 3 carbon emissions by the end of

Final Frame

From Leicester Square to Helsinki

2025. This will help inform them on their carbon

It’s clear that OCG isn’t just focused on reducing

In the UK and Ireland, three of OCG’s high-profile

hotspots and supplier engagement approach with

emissions — they’re building systems and cultures

venues — including Odeon Luxe Leicester Square

the objective of addressing their most carbon-

that will scale. From BMS

—

intensive areas with targeted action.

integrations to branded cups, it’s

have

achieved

Greengage

ECOsmart

certification, marking them out as sustainable venues to guests and for events.

The next target market? Finland, where the group’s Finnkino-branded event cinemas are on track

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Raising

awareness

and

building

their

sustainability communications across all employees

MORE INFO

the kind of joined-up thinking our industry needs a lot more of.

is a key objective for 2026 and OCG is currently reviewing ways to achieve this.

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LET THERE BE LIGHT... ...AND CONTRAST...

W O R D S : D AV I D H A N C O C K , C H I E F A N A LYS T, O M D I A

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ANALYSIS

...AND BRIGHTNESS... ...AND COLOUR SCALES OF BRIGHTNESS TOWARDS A

STANDARDISED VIEW OF CINEMA HDR

HDR

THE BRIGHTNESS

DOLBY

LEVEL NEEDED TO

THIS IS WHERE

DOLBTY CINEMA SITS. CONTRAST

Is the time right for HDR in cinemas?

RATIO IS

cinemas. This followed a long period of testing and discussion to

understand what technical levels were needed to reach HDR cinema. The upshot of the Addendum Version 1.0 was that no projector could actually hit Cinema-grade HDR, but LED screens could. With an industry standard now in place, manufacturers know what to work towards to deliver HDR-capable technology. And in 2025, Barco launched HDR by Barco, based on its light

BRIGHTNESS ON SCREEN (NITS)

I

first document outlining the specifications required to achieve HDR in

BRIGHTNESS LEVEL

STANDARD 2D THIS IS WHERE THE DCI STANDARD (2D CINEMA) SITS, THE EQUIVALENT OF 14 FOOT-LAMBERTS IN THE 35MM DAYS.

OF IMAX WITH LASER, AVAILABLE IN 32% OF IMAX COMMERCIAL CINEMA LOCATIONS WORLDWIDE.

ACHIEVED BY LED BARCO PROJECTORS,

ELEVATED

n late 2022, the Digital Cinema Initiatives (DCI) group published the

OF WHERE HDR IS.

SCREENS & HDR BY

SIGNIFICANTLY

IMAX

ACHIEVE DCI VIEW

WHICH ARE FEWER

COMPARED TO OTHER FORMATS. EVEN THOUGH NOT TRUE HDR, IT'S PITCHED AS EDR.

THAN 400 SCREENS WORLDWIDE.

300 NITS

108 NITS

75 NITS

48 NITS

steering technology that it has been developing for a decade. The technology continually analyses content to move light around where it is needed, which is why it can achieve HDR in a projector whereas others can’t yet viably.

w w w. c i n e m a - t e c h n o l o g y. c o m

2,000:1

8,000:1

1,080,000:1

60,000:1

CONTRAST RATIO

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The precursor to HDR has been Extended Dynamic Range (EDR), and we also now have Variable Dynamic Range (VDR) by Christie which can be activated in over 3,000 projectors (currently). Several branded formats come under

Several branded formats come under the heading of EDR, such as IMAX and Dolby Vision.

the heading of EDR, such as IMAX and Dolby

more than others. In creation terms, HDR is particularly suited to animation, action, adventure, certain documentary types, fantasy, horror and sci-fi movies. Creators have more of a colour palette to play with and can also play with whites and blacks more effectively.

Vision. In true cinema fashion, there has been an

Streaming platforms regularly offer both 4K

accumulation of acronyms, none of which the

and HDR to their customers to watch content, and

general public will recognise, to describe

have leapfrogged cinema in quality terms, which

attempts to improve the image on screen. Given

targeting 11 screens in 2025 and a further 50

for many years was the apex in on-screen image

that LED screens were the only ones to hit Cinema

across the Vue estate (international) in 2026–27.

quality. Improving quality in the home doesn’t

HDR before HDR by Barco, the number of HDR

The group may also license the format to non-

permeate people’s perceptions immediately, but

screens in cinema is limited, around 400 by the

competing cinemas in the longer term.

over time viewers will subconsciously expect

end of 2025. This is one quarter of the total

higher quality images in cinema if they are

number of EDR/VDR/HDR screens in cinemas.

Consumer Demands

regularly experiencing HDR quality in the home.

The ability for projector-delivered HDR by Barco

Omdia’s Consumer Survey research shows that

The expansion of tech options for cinemas means

is a turning point for HDR take-up in cinemas,

across all countries, the quality of image (including

that technology is now a key differentiator

building on HDR-capable LED. For me, the HDR

HDR) was the second most important criteria for

between cinemas but also the foundation for

label is key for the premiumisation of cinemas and

buying a TV (mentioned by 33.5% of respondents).

building a more premium sector and upping the

to keep cinema audiences coming back, given

Those who spend more also want more in terms of

bar all round. HDR is key for the premiumisation of

that most people won’t be aware of the nuances

high-end functionality. It is also worth noting that

cinemas, which in itself is important, but it is also

of image quality, brightness and contrast. This is

people who go to the cinema frequently also over

key for the whole sector’s long-term health.

clearly a view shared by Vue Cinemas, who

index on subscribing to and watching streaming

launched the EPIC format in summer 2025,

services. These are the same people who will be

More HDR Content Is Needed

choosing HDR by Barco and Dolby Atmos to

watching HDR in the home. However, consumers

However, there isn’t much point having HDR

become the first HDR format for cinemas. Vue is

will also value some genres/content types in HDR

screens if the movies supplied aren’t provided in

EXTENDED DYNAMIC RANGE AND HIGH DYNAMIC RANGE IN CINEMAS, 2017-25

1800

EDR

HDR

1600

1400

1200

1000

800

600

400

200

0 2017

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2018

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2019

2020

2021

2022

2023

2024

2025

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ANALYSIS

3,000

0.1%

THE PRECURSOR TO HDR HAS BEEN EXTENDED DYNAMIC RANGE (EDR), AND WE ALSO NOW HAVE VARIABLE DYNAMIC RANGE (VDR) BY CHRISTIE WHICH CAN BE ACTIVATED IN OVER 3,000 PROJECTORS

LED SCREENS MAKE UP A TINY FRACTION OF GLOBAL MARKET FOR CINEMA SCREENS (AROUND 0.1% OF THE 218,000 SCREENS WORLDWIDE)

400 33.5% 80% GIVEN THAT LED SCREENS WERE THE ONLY ONES TO HIT CINEMA HDR BEFORE HDR BY BARCO, THE NUMBER OF HDR SCREENS IN CINEMA IS LIMITED, AROUND 400

BY THE END OF 2025

% OF THOSE WHO SAIDIMAGE QUALITY IS THE 2ND MOST IMPORTANT CRITERIA FOR TV PURCHASING

HDR. So, studios, distributors and producers need

HDR quality, although the experience with premium

easier to make. It can be a selling point for LED

to follow the market expansion of EDR/VDR/HDR

formats is a good indicator that they will. As the

screens for those exhibitors looking to offer HDR

screens with suitable movies to play on them.

installed base of HDR-grade cinemas grows, there is

to their customers now. The only way LED grows is

While HDR remains restricted on a few screens, the

more reason to provide content (think back to digital

to take a long-term approach with gradual yearly

reality is that only certain movies will make their

cinema and providing digital prints) in the correct

gains, given the long lifespan of a cinema projector

way onto HDR screens, likely to be the tentpoles

master, but it may take time for that to filter back to

and the installed base of projectors, and this is one

that dominate the first two-weeks in the cinema. At

content providers.

more weapon on their armoury of arguments to

THE GLOBAL BOX OFFICE IS AT 80% OF THE FIGURE OF 2019 AND COSTS HAVE RISEN ACROSS THE BOARD

some point soon, these need to be supplied at an

LED Direct-View screens have some clear

switch to LED. Technology manufacturers can

HDR grade to cinemas. Only Pixar has committed

advantages over traditional projectors, in terms of

hedge their bets by being involved in both types

to providing HDR grade movies for cinemas, the

brightness and image quality, and they also offer

of image delivery although this actually works one

first was Elementals which was mastered at 4K

HDR capabilities. There are some very distinct use

way only as cinema projection is based on existing

HDR. All subsequent Pixar movies have also been

cases for LED in cinemas, especially where light is

licenses. Projector companies need a foot in the

provided in the same grade but Pixar are the only

useful (for example, in-seat dining, kids’

LED camp, which all three do to differing degrees.

ones. This may well be down to the lack of

screenings) and these sections of the market are

However, the lack of LED growth to date

auditoriums to play such a mastered version in but

growing.

Projectors have many trade-offs to

means having a projector-capable HDR solution

as this evolves so must the studio view. The chicken

balance to achieve very high brightness, making

ready for the market is important, offering the

has clucked, the egg needs to follow.

HDR difficult on them, with only HDR by Barco

established method to cinemas that are set up

able to do it. While LED screens make up a tiny

for projection.

Significant Investments

fraction of global market for cinema screens

Technology is a business-critical element of the

Of course, HDR rollout isn’t going to happen

(around 0.1% of the 218,000 screens worldwide),

cinema exhibition sector, and HDR is one of the most

overnight for a number of reasons. The principal one

they will not drive HDR capacity in cinemas any

important areas within that. Cinemas need to invest

is cost: HDR, whether by acquiring LED or HDR by

time soon, at least not outside China, which is

in projection equipment that helps them stand out

Barco is expensive and money is not awash in the

likely to embrace LED, a country without the long

from the crowd, be that other cinemas or movie

cinema sector at present. The global box office is at

history of 35mm projection, but also with no

(content) watching alternatives not in the cinema.

80% of the figure of 2019 and costs have risen across

licensed projector manufacturer and with a

Giving the customer a reason to stay at home is not an

the board. Investment needs to be strategic and

government that would like its own solution in the

option, so investing in HDR technology is a catalyst

long-term for these technologies. Such an investment

cinema technology sector. However, the market

(not the only one) to delivering

would probably also require extra expenditure on

for Direct-View is as ready as it has ever been to

a must-see experience. It may

associated equipment, audio, screen, branding and

grow, especially at larger screen sizes and for

be a slow burn, but incremental

marketing, as well as operational costs (higher

those exhibitors seeking HDR. The price

improvements in image quality

energy usage maybe). At these early days, exhibitors

differential with projection is not as wide at this

are a fundamental plank in the

do not know for certain if audiences will pay more for

size and image level, and the case for investing is

future of cinemagoing.

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S R O T I IB H N X E E D A R M A E G N E I C H T T W H A R N F RO M N O MY A O E C L E N E A R C C E NT

W O R D S : P E T E R K N I G H T, C O M M I S S I O N I N G E D I T O R

There is something wonderfully British about the garden centre. A place to pick up a pot of petunias, enjoy a slice of Victoria sponge, and perhaps browse a surprisingly wellcurated range of homeware. But the story of the garden centre is far more than a weekend outing. It is a fascinating example of retail reinvention. From modest horticultural beginnings to their modern guise as multi-layered leisure destinations, garden centres have redefined what it means to be a place of commerce and community.

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COMPARISON

T

hat transformation did not happen by accident.

Faced

with

economic

pressures, changing consumer habits,

and the shifting seasons, garden centres adapted.

They found ways to stay relevant and attractive, expanding their offerings and embracing the experiential economy. It is a journey that might sound familiar to anyone in the cinema industry.

Cinema operators are asking the same question: what else can we be? As the sector wrestles with issues such as declining footfall and the streaming revolution, the story of the garden centre offers valuable clues. What if cinemas, like garden centres, became places to linger, not just to watch a film but to eat, shop, play and connect?

Before we explore that future, let’s take a look at where the garden centre came from and how it blossomed into what it is today.

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COMPARISON

1

The Evolution of Garden Centres

The idea of cultivating and selling plants dates back centuries, but the modern garden centre as we know it is a relatively recent phenomenon. Its roots lie in the traditional nursery, a grower’s business often attached to an estate or market garden, supplying plants directly to customers or local markets. These were working sites, focused on production rather than presentation.

It wasn’t until the post-war era, particularly the 1950s and 60s, that things began to change.

Britain was rebuilding, suburban housing was on the rise, and people were investing in their homes and gardens. Inspired in part by developments in the United States and continental Europe, British horticulturists began experimenting with purposebuilt retail sites that could showcase plants attractively, year-round. These were the first true garden centres, combining the stock of a nursery with the customer-friendly layout of a department store. The 1970s saw steady growth, but it was the 1980s and 90s that brought real expansion. Car ownership was up, and consumers were willing to travel for a better experience. Out-of-town sites offered ample parking and room to grow. It was during this period that cafés started to appear, first as modest tearooms, then evolving into restaurants

centre visits continue to rise, with over 70% of UK

from muddy boots and seed trays to a full-scale

and full-scale catering operations.

adults visiting at least once a year. There are around

leisure business. Its success is a case study in

As retail habits shifted again in the 2000s,

2,300 garden centres and retail nurseries in the

adaptability. And that is where the cinema industry

with online shopping rising and high streets

UK, generating an annual turnover of more than £6

might start to pay attention.

declining, garden centres leaned harder into

billion. Importantly, food and beverage offerings

experiential value. They became year-round

now account for up to 15% of revenue in some

attractions, offering Christmas wonderlands,

centres, with many operators reporting stronger

Easter trails, craft fairs, cookery demos and

performance outside the traditional spring-

The journey from a nursery-based plant retailer to a

gardening workshops. Product lines diversified

summer peak. Diversification has not just kept

multifaceted leisure destination did not happen

too: home furnishings, gifts, fashion, books and

garden centres afloat, it has allowed them to thrive.

overnight. It was the product of incremental

pets joined the mix. Today, in many large centres,

Internationally, the model holds up. Across

innovation, often driven by necessity. Garden centres

plants occupy only a third of the floor space.

2

Diversification in Practice: From Plants to Experiences

Europe, jardineries in France, Germany and the

learned that a wet bank holiday weekend could wipe

The modern garden centre is not just a shop. It

Netherlands follow similar approaches, with

out footfall, and that offering a warm café and dry

is a curated environment designed to maximise

brands like Truffaut, Dehner, and Intratuin leading

indoor shopping could help offset those losses. In

dwell time, drive impulse purchases, and foster a

the charge. In Asia, rooftop plant cafés in Tokyo

time, they came to understand that experiences, not

sense of community. Visitors might come for a

and lifestyle-led nurseries in Seoul show how the

just products, brought people through the door. This

hanging basket but stay for lunch, a gift for a friend,

concept adapts even in high-density urban

shift has seen the emergence of venues that bear

and wander through a curated display area. The

environments. Globally, the garden retail sector is

more resemblance to department stores or family

model is built around versatility, hospitality, and

estimated

driven

attractions than traditional garden outlets. Today, it is

comfort. And it works. According to the

increasingly by non-horticultural sales and leisure-

common to find indoor play areas for children, craft

Horticultural Trades Association (HTA), garden

oriented experiences. The garden centre has gone

workshops, cookery demos, art exhibitions, and

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to

exceed

£75

billion,

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themed seasonal events, all under the garden centre roof. Each element is designed to extend dwell time, broaden appeal, and increase per capita spend.

Catering has become a powerhouse. Where once a modest tearoom sufficed, many centres now boast full-service restaurants, patisseries, or even food halls. This food and beverage offer not only

where entertainment, dining, leisure, and even light

film screenings. Cinemas were cultural landmarks,

boosts margins but also supports longer visits and

retail coexist in a well-branded, harmonious space.

often adorned with ornate architecture and imbued

repeat custom.

The idea is not to dilute cinema’s core product, but to

with a sense of occasion. Going to the cinema was

reframe the visit as part of a broader experience

never just about the film, it was about the experience.

economy.

The advent of the multiplex in 1985 redefined cinema

For the cinema sector, the parallels are striking.

Much like garden centres once did, cinemas now face the challenge of remaining relevant in an experience-driven economy. The average filmgoer wants more than a ticket and a screen. They want an evening out, a comfortable setting, perhaps a

3

once more. These out-of-town, multi-screen venues

Lessons from Cinema’s Own Evolution

were a response to changing urban geographies and consumer demand. And with them came new

It would be wrong to suggest that cinemas have

additions: cafés, fast food, soft play areas, and even

cocktail and a meal, or something unexpected to

not already walked a similar path. In many ways,

amusement arcades, particularly popular through the

share on social media. Some operators are already

the cinema industry has a long tradition of

1990s. This diversification was not dissimilar to what

experimenting with boutique models, pop-up

expanding beyond pure film exhibition.

garden centres would later adopt. In more recent

events, and extended F&B. But there is room to go

Historically, the roots of cinema in the UK were

years, cinemas have experimented further. Premium

further. What if cinemas, like garden centres,

entwined with theatre. Cine-variety venues in the

seating, in-auditorium dining, cocktail bars, private

repositioned themselves as lifestyle venues? Places

early 20th century offered a mixture of live acts and

hire spaces, and themed experiences are now

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COMPARISON

commonplace. Virtual reality installations, gaming lounges, and event cinema (from live theatre to esports) have all found space in modern venues.

4

Placemaking, Purpose, and Practicality

DWELL TIME EQUALS SPEND The garden centre model is clear: the longer you

So, what does all of this mean for the cinema sector

can keep someone on site, the more likely they are

Operators like Everyman, The Light, and Backyard

at large? Beyond inspiration, what can garden

to spend across multiple categories. Cinemas that

Cinema have leaned into the boutique, lifestyle-led

centres, and venues like The Flower Bowl, teach

offer pre- and post-film dining, child-friendly zones,

model, much as garden centres did when shifting

exhibitors looking to future-proof their business?

boutique retail or lifestyle add-ons can capture

from retail to day-out destination. One only needs to

EXPERIENCE DRIVES FOOTFALL

extra revenue that goes beyond the ticket.

look through the pages of this magazine over the last

Retail alone is no longer enough to justify a trip out.

SEASONALITY IS A STRENGTH, NOT A

few years to find examples: from Vue’s trials of

Consumers

WEAKNESS

gourmet concessions to independent venues

experiences, and that starts from the moment they

Garden centres have learned to embrace the

hosting supper clubs and yoga screenings.

are

increasingly

motivated

by

walk through the door. Cinemas that can create

calendar. From autumn décor and Halloween

The sector has not stood still. But what remains

memorable, multi-sensory, and multi-purpose

pumpkins to summer BBQ ranges and Christmas

elusive is a fully integrated, branded ecosystem that

spaces, think rich interior design, comfortable

wonderlands, they have created annual rhythms that

blends entertainment, retail, dining, and leisure

social zones, photo opportunities, and food that

bring people back. Cinemas, too, can do more with

under

excites, will gain competitive advantage.

themed

one

roof.

A

garden-centre-style

programming,

events,

and

transformation,

decoration to tap into seasonal behaviour.

deliberate,

COMMUNITY OVER COMMODITY

diversified,

spatial

and experience-driven, is

Perhaps the most compelling lesson from the garden

still more the exception

centre playbook is the importance of belonging. The

than the rule. Which

best garden centres serve as social spaces, not just

bringsus, naturally, to the

shops. They host events, support local makers, and

Barton Grange Garden

build loyalty through familiarity. Cinemas can harness

Centre and Flower Bowl

that same ethos by becoming cultural hubs:

that has arguably gone

showcasing local talent, providing space for

further than any other in

community gatherings, or simply offering warm,

embracing this model.

human-centric environments.

BLENDED OPERATIONS ARE WORTH THE COMPLEXITY Running a site that houses everything from a film screen Topping family and marks one of the UK’s boldest attempts to blend leisure, cinema, and retail into a unified offer. The Flower Bowl is unlike any cinema complex you have seen. It

CASE STUDY

houses three boutique cinema screens with luxurious sofa seating, a curling rink (the only one of its kind in England), a bowling alley, a

3 0

to a curling rink is not simple. But The Flower Bowl shows that with careful branding, good design, and operational alignment, it is possible to build a multifaceted business that works in harmony. The lesson?

Diversification is not dilution, it is potential unlocked.

CONCLUSION: RETHINKING THE ROLE

crazy golf course, VR rides, golf simulators,

At their best, both cinemas and garden centres are

BARTON GRANGE GARDEN CENTRE

and multiple eateries. The entire building is

places of escape. They offer respite, inspiration,

& THE FLOWER BOWL

designed around botanical themes, including

connection, and increasingly, sustenance and

a living grass roof, floral motifs in lighting and

entertainment. The success of the modern garden

Nowhere is this evolution more visibly realised

seating, and a seamless flow between

centre lies not in abandoning its core offering, but in

than at Barton Grange in Lancashire. Founded

entertainment zones.

expanding around it. The same can be true for cinema.

in 1945 by Edward Topping as a landscaping

It is, in essence, a destination, a place

This is not a call to install hanging baskets in the lobby. It

firm, the company expanded into plant

where a morning of plant shopping can morph

growing and retail in the 1960s. In 2008,

into a family bowling match, a fish and chip

is an invitation to rethink what a cinema could be: not

Barton Grange Garden Centre moved to a

lunch,

new, purpose-built facility at Brock, featuring

underpinned by a consistent brand story and

an award-winning design and significant

customer journey.

and

an

afternoon

movie,

all

just a darkened room with a screen, but a vibrant, flexible space that adapts to audience needs and evolves with the times. In a world of endless streaming and short attention spans, the big

investment in hospitality. The truly eye-

What makes The Flower Bowl so

catching move came in 2018, with the opening

instructive is not just the breadth of its offer

screen must fight for relevance,

of The Flower Bowl Entertainment Centre,

but the thoughtfulness of its design. It is a case

and it can win that fight by offering

located directly next to the garden centre and

study in integrated leisure: clear theming,

something that no algorithm ever

built at a cost of £8 million. The project was

multi-generational appeal, and operational

could: a real place, for real people,

spearheaded by the second generation of the

synergy with the adjacent garden centre.

with real experience at its heart.

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EVERYMAN

BEYOND SOFAS & SPIELBURGERS How the UK’s leading boutique cinema chain delivers technical sophistication beneath heritage elegance in its landmark 49th venue.

WORDS: PATRICK VON SYCHOWSKI, CINEMANEXT

E

veryman

Cinemas

has

long

been

synonymous with comfort, cocktails and

cinema represents Everyman’s most technically

suitable for high-end events.” This is the why and

advanced installation to date.

how

Everyman’s

commitment

to

customer

conversation - a place where audiences

“We don’t really like to burden a venue with the

settle into plush velvet sofas, enjoy a “Spielburger”

title ‘flagship’ site, but this one comes close,”

backbone

and sip a Picanté before the lights dim. But with its

explains Nick Davey, Everyman’s Chief Technology

production, and system control.

49th venue, Everyman at The Whiteley, the brand

Officer, during an exclusive walkthrough of the

best known for boutique indulgence has quietly

venue. “With apartments above us being some of

delivered its most technologically advanced cinema

the most spectacular you could imagine and the Six

Conquering Construction Challenges

to date. Housed within a meticulously restored

Senses Hotel positioning the building as one of the

The path to creating this technical showcase wasn’t

Grade II-listed building that once served as London’s

most prestigious addresses in London, we needed

straightforward. Bell Theatre Services (BTS), the

first department store, this five-screen, 332-seat

our cinema to match that level of luxury whilst being

integration partner responsible for the installation,

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experience now extends deep into the technical of

cinema

presentation,

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event

3 1

EVERYMAN

faced extraordinary challenges working within the constraints of the historic building shell, two levels below ground.

“One of the biggest obstacles was Screen 1,” reveals Steffan Laugharne of BTS. “When you look up, the ceiling bulkheads hide a huge number of concrete downstand beams. Trying to fit equipment around those, plus fire-alarm sprinkler pipes, was one of the toughest fit-outs we’ve ever done.”

EVERYMAN AT THE

The complexity extended beyond mere spatial

WHITELEY —

constraints. Above the ceiling, a maze of ductwork,

AT A GLANCE

sprinkler pipes, and rainwater and soil pipes from the luxury residences above created what Laugharne describes as an “extremely busy” environment, all requiring careful navigation and coordination. The team had to visit the site once or twice weekly during pre-installation to ensure space was preserved for

OPERATOR Everyman Cinemas (49th venue)

LOCATION The Whiteley, Bayswater, West London

speakers and proper alignment. Adding to the

OPENED

challenge, curtain tracks for the tabs in Screen 1

Summer 2025

required an additional 300mm of height clearance.

SCREENS

“Maximising the picture sizes under those constraints

5 auditoria

was tricky,” Laugharne notes. The result pushes

TOTAL CAPACITY

screen sizes to within 50mm of the walls in some

332 seats

auditoriums whilst ensuring no more than a maximum 45-degree viewing angle - a testament to precise engineering within tight tolerances. The auditorium is a fan-shaped beauty of stylish decor and comfort, something that is taken for granted these days with every new Everyman venue, but still worth

DESIGN PARTNER Fusion Design & Architecture

TECHNICAL INTEGRATION Bell Theatre Services Ltd

SYSTEM SUPPLIER Bell Theatre Services Ltd

highlighting.

CONTROL & NETWORKINGQ-SYS

Q-SYS: The Digital Backbone

integrated audio-video-control platform

At the heart of The Whiteley’s technical prowess lies a

PRIMARY USE

comprehensive Q-SYS implementation - the fourth

Premium cinema, private hire,

such installation for Everyman and their most

live events, and streamed Q&As

advanced iteration yet. The system, supplied and integrated by Bell Theatre Services, represents a fundamental

shift

from

traditional

cinema

infrastructure toward networked, IP-based control.

“Q-SYS allowed us to bring everything under one ecosystem,” Davey explains. “Through it, we can monitor projector pod temperatures, power states, playback status, automation controls for masking and dowsers, and even audio routing - all from a single interface.” The system runs on dual Q-SYS Core 110f processors in redundant configuration. “Every automation command is sent four times - once to each core and each network,” Laugharne details. “So no matter what fails, the system keeps running.” This level of redundancy ensures the venue can maintain operations even during component failures - critical for high-profile premieres and live events. The shift to

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4k 7.8m

LASER PROJECTION IN FLAGSHIP SCREEN

WIDEST SCREEN (SCREEN 5)

network audio has yielded both cost savings and operational benefits. “We’re saving on copper cabling and simplifying the infrastructure,” Davey notes. The team has even developed portable PeliCase units housing NV-1 wall-plate endpoints, allowing staff to connect laptops anywhere with a network port for instant connectivity.

SCREEN 1 —

Premium Projection and Sound Screen 1 serves as the technical centerpiece, featuring

THE PREMIUM

a 4K laser projector with high-contrast lens, Dolby

BENCHMARK

Atmos sound, and a Dolby IMS3000 server. The projector, housed in a ventilated auditorium pod,

SEATING 117 velvet sofas and armchairs

PROJECTION 4K RGB laser with high-contrast lens

SERVER Dolby IMS3000

SOUND

designed by BTS and other members of the Everyman Design Team, features a scissor lift to allow the projector to drop to seating level for easy maintenance access. The level throw to the screen provides an image with zero keystone distortion.

Multi-stop

masking and traditional tabs complete the premium presentation capabilities.

“In Screen 1 we used JBL C222 speakers because

Dolby Atmos immersive system

the shallow space required a slimmer cabinet design,”

SCREEN

Laugharne explains, highlighting how equipment

Harkness Matt Preview Mini Perforated

selection had to accommodate the physical

MASKING Multi-stop motorised masking with full tabs

POD DESIGN BTS & Everyman Design Team

EVENT READY

“We can log in remotely and diagnose faults from anywhere in the world” NICK DAVEY, CTO, EVERYMAN CINEMAS

Direct Dante inputs, local production booth, live mixing suite

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332

THE POWER OF Q-SYS

TOTAL SEATS ACROSS FIVE AUDITORIA

100% NETWORKED AUDIO & CONTROL VIA Q-SYS + DANTE

Q-SYS (BY QSC AUDIO) SERVES AS THE DIGITAL BACKBONE OF THE WHITELEY. Unified control of projection, audio, lighting, automation, and building systems Integrated HDMI — one connection

constraints whilst maintaining audio quality. Screens 2-5 utilise QSC SC-2150 screen speakers, with audio configurations ranging from 5.1 in the unusuallyshaped Screen 3 to 7.1 in Screens 4 and 5.Screens 1,2 & 5 feature Harkness Screens’ Matt Preview, Perlux

in/out eliminates handshake failures Real-time monitoring of temperatures, power, dowser, masking, and audio levels

HiWhite 1.4 and 1.8 gain respectively while auditoria

Remote engineer access for fault

3&4 feature Severtson SAT 4K woven screens with

diagnoses and remedy

1.18 gain - acoustically transparent fabric that delivers

Custom GUI interface built by Bell

excellent audio-visual quality even at the close seating

Theatre Services for intuitive

distances characteristic of Everyman’s intimate

operation

auditoriums. Screens 2 through 5 employ 2K laser

Supports Sennheiser SpeechLine

projectors, all running on Dolby IMS3000 servers, with

Dante microphones, Allen & Heath

screen widths ranging from 5.2 to 7.8 meters.

mixers, and NV-21 video endpoints

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“It’s full-venue integration - not just projection and sound, but networking, control and user interface - all unified.”

STEFFAN LAUGHARNE, BELL THEATRE SERVICES

Event-Ready Infrastructure

Behind Screen 1, a small production room

SOUND & EVENT

What truly distinguishes The Whiteley is its

functions as a control center with a stable door design

SYSTEM

comprehensive event capabilities, particularly

allowing discrete operation during events. “We

crucial given its Soho-adjacent location and

handle live sessions, recording and mixing Q&As on

premium positioning. The venue regularly hosts

site,” Davey notes. “We’ve hosted events like a joint

premieres for Apple TV, live Q&A sessions for Edith

Q&A with Ken Loach and Mike Leigh - the first they’ve

Bowman’s Soundtracking podcast, and streams

ever done one together, plus on wider scale we were

events nationwide via Rosetta Live.

able to invite our guests around the country to be part

Sennheiser SpeechLine Dante wireless microphones 4 per base unit) Auto-mix mode ensures clean,

“We’ve integrated Sennheiser SpeechLine

of the Premiere for Luca: Seeing Red, with a live

feedback-free audio for Q&As

wireless microphones directly into Q-SYS via a

streamed pre-film musical performance and post-film

Q-SYS network audio links every room

Dante network,” Davey explains. “Each base unit

Q&A .” Cinema history is clearly already being made

and input across the venue

handles up to four mics, and we can assign them to

at this site. The venue’s IP-based satellite receiver

Integrated control of foyer and

any screen remotely via the GUI.” The system

system allows remote control and channel tuning

bar music with timed presets

includes an intuitive PA mixer interface with gain

through Q-SYS, while DMX-controlled spotlights

control, EQ, and auto-mix functionality that shares

provide theatrical lighting control. Even the bar areas

gain across active microphones to reduce feedback

feature integrated announcement buttons for a

- allowing staff to handle events without extensive

“Voice of God” system-venue-wide PA capabilities

audio engineering knowledge.

built into the infrastructure.

“Voice of God” button for all-house announcements Allen & Heath mixers for multi-track live recording Rosetta Live platform for simultaneous

Breaking the HDMI Bottleneck

streaming to other Everyman cinemas

One of the most practical innovations addresses a persistent industry pain point: HDMI reliability.

“HDMI handshakes are notoriously unreliable, especially when juggling Blu-ray players, satellite streaming boxes, and conferencing devices,” Davey explains. “Since implementing Q-SYS with NV-21 video endpoints - starting at our Bury St. Edmunds site -we’ve had almost no HDMI dropouts.”

By minimizing handshakes to just one in and one out within the Q-SYS ecosystem, Everyman has effectively eliminated a major source of technical failures during presentations and events - crucial for maintaining the premium experience expected at The Whiteley.

Remote Engineering Capabilities Perhaps most impressive are the remote engineering features built into the Q-SYS implementation.

Engineers can log in remotely to access any aspect of the cinema system, without interfering with normal operations from a single interface.

“We’ve shown this to various other technical teams, and they were impressed with the flexibility,” Davey reveals. “As Q-SYS becomes more common in cinema, features like this will be essential.” The

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team at Bell Theatre and Everyman have built a close

toward modern laser projectors as standard reflects a

relationship with Q-SYS themselves, with the

pragmatic approach to standardisation without

company sending delegations

compromising quality.

Everyman

has

implemented

to study how whole-venue

“NEC laser projectors are a better fit for our

integration beyond traditional cinema sound

needs,” Davey explains, noting how they have

applications and doing a case study on how the

developed the pods with Bell Theatre and Powell’s in

system is being developed for specific needs.

order to take advantage of previously unviable venue constraints. As The Whiteley becomes fully

EVERYMAN’S

Setting New Standards

operational, it stands as a testament to what’s possible

EVOLVING

The five-week installation, conducted during a

when boutique cinema hospitality meets cutting-edge

punishing mid-summer period in the basement

technology. The venue doesn’t just screen films; it

without air conditioning, represents more than just

provides a complete technical platform for live events,

another cinema opening. It demonstrates how

streaming, corporate presentations, and traditional

boutique cinema operators can leverage advanced

cinema - all wrapped in Everyman’s signature comfort

technology to enhance rather than replace their

and style.

hospitality-focused approach.

“The results speak for themselves,” Laugharne

TECHNICAL STRATEGY

Q-SYS now fully deployed at Bury St Edmunds, Stratford, Cambridge,

“Each Everyman project has challenges - often

concludes. Indeed, The Whiteley proves that pushing

ceiling height restrictions - but being two basement

the technology envelope doesn’t mean abandoning

levels down added extra complexity,” Laugharne

the sofas and Spielburgers - it means ensuring they’re

reflects. The logistics alone were demanding, with no

supported by infrastructure worthy of a £1.5 billion

Brentford and The Whiteley and managed by BTS, creates sonic zones that staff can Dolby Atmos installed in select adjust independently; another example of technology premium auditoria serving operational flexibility.

Q-SYS being rolled out group-wide

lift access during construction and strict health and

development that’s reshaping one of London’s most

Future-Proofing Through Innovation

safety rules preventing staff from using lifts when

prestigious neighborhoods. In achieving this balance,

carrying food and drinks even after opening.

Everyman has created not just its

Bell Theatre Services supports The Whiteley represents a significant evolution in system supply, calibration, Everyman’s technical capabilities, building on lessons

Yet the results justify the effort. EASE audio

49th venue, but arguably its

MORE INFO

for unified control

and maintenance learned from previous Q-SYS installations at Bury St

modelling ensures even audio coverage throughout

most

technical

Edmunds, Bell Stratford, Cambridge, and Brentford. The Theatre Services oversees

public areas, with subwoofers in bars capable of

showcase for the future of

“pushing levels almost to nightclub standards” for

premium cinema exhibition in

installations move away complex from legacy projectorand dependencies technical design

private events. The foyer audio system, also designed

the UK.

important

Event partnerships: Apple TV, Edith Bowman’s Soundtracking podcast, The Academy Museum of Motion Pictures

0

HDMI DROPOUTS SINCE Q-SYS INTEGRATION

REMOTE FAULT DIAGNOSIS CAPABILITY VIA SECURE GUI

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IT’S TIME TO TALK ABOUT PHASE Accurate sound is more than just frequency response.

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SOUND

WO R D S : M A R K M AY F I E L D, D I R E C TO R O F C I N E M A M A R K E T I N G , M E Y E R S O U N D

C

ompared to light, sound is very, very

PHASE CYCLE FIGURE 1

slow. However, sound doesn’t literally travel like a particle from point A (source)

to point B (listener). Instead, sound is our perception MAX COMPRESSION

of pressure changes of repeating cycles of

MAX COMPRESSION 90 O 450 O

90 O

compression and de-compression (or rarefaction) of air molecules. Once it reaches our ears, we perceive the number of complete compression/rarefaction cycles in one second. There’s a physical dimension too; every cycle is completed over some distance,

AMPLITUDE

it as sound. Frequency is a time-based measure of

540 O 180 O

180 O

TIME 0O

0O 360 O

0O 360 O 720 O

which is the wavelength.

Frequency is the number of complete cycles in one second.

w w w. c i n e m a - t e c h n o l o g y. c o m

MAX REFRACTION

630 O 270 O

270 O MAX REFRACTION

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by a loudspeaker, high frequencies (which have

FLAT FREQUENCY RESPONSE FIGURE 2

short wavelengths) develop quickly with tight spacing, but low frequencies (with their much longer 150

wavelengths) take more time and are spaced further apart. The highs are shipped next-day air; the lows

100

are shipped via ground freight. When the sound

AMPLITUDE

50

leaves the loudspeaker, high frequencies complete their cycle before the low frequencies. This is typical.

0

When one band of frequencies in a signal is -50

early or late relative to the others, it creates “phase shift”, which means that all the frequencies are not

-100

leaving the loudspeaker in exactly the same time

-150

sequence as they went into it. Phase shift can create 100Hz

20Hz

1000Hz

10kHz

20kHz

the perception that the sound is “smeared” – dialog is less articulate, a sense of “presence” is lost. This is

A flat frequency response is just one factor that can indicate good loudspeaker performance.

A LOUDSPEAKER

especially noticeable on dialog with many short bursts (vocal “fricatives”) or musical sounds with many transients (such as a snare drum). Another

THAT MAKES NO

One of the most common ways to describe how

common source of delay is caused by the physical

a loudspeaker “sounds” is by referring to its

alignment of different driver types in a multi-way

frequency response. Frequency response describes

loudspeaker; think of an unfair start to a horse race

the range of frequencies delivered by the

where the gates are not aligned in a straight line. For

A cinema loudspeaker has one job, and

loudspeaker and the level (or magnitude) at each

loudspeaker systems, this can be somewhat

one job only: to take the film soundtrack

frequency.

manufacturers

addressed with mechanical design — intentionally

and pass it on the audience loud enough

provide this data, which is often used to compare

offsetting the physical spacing of the drivers — or

one loudspeaker versus another. An approximately

with electronic digital delay. But even that only

“flat” response curve on the diagram is assumed to

works for a small range of frequencies. There are

soundtrack – it should add no distortion

indicate a good quality loudspeaker, since it means

many other sources of delay. Crossovers (frequency

or coloration of its own. Yet any time the

that it can reproduce all the sound it receives at the

dividers that send the highs to the tweeter and lows

input signal is altered in any way, that’s

same level, without artificially boosting or cutting

to the woofer) are a common source of phase shift.

exactly what happens. The result is that

arbitrary frequencies. But that’s not enough.

So are equalizers, or most filters in the signal chain for

SOUND?

so audiences can hear it at reference level.

It should do nothing to the

the audience will not hear as the filmmakers did when they created it.

Most

loudspeaker

The problem is time. Sound is relatively slow to propagate, and every frequency has a different wavelength. Except for a pure sine wave, program content like a film soundtrack is comprised of many frequencies, all mixed together. When reproduced

The vertical lines indicate the continuation of phase shift (called a “wrap”), and each wrap indicates a full cycle (or 360 degrees) of phase shift. Note that it changes at every frequency, thus the amount of delay is also frequency-dependent.

TYPICAL LOUDSPEAKER UNCORRECTED PHASE RESPONSE FIGURE 3

150 100

You wouldn’t add your own colour to the Mona Lisa, so why would you alter the sound of a great movie? The goal is to make the output from the loudspeaker the same as the input from the DCP server, or as close as possible. This is what the quest for “phase linearity” is all about.

AMPLITUDE

50 0 -50 -100 -150 20Hz

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100Hz

1000Hz

10kHz

20kHz

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SOUND

A PERSONAL

DRIVER PHYSICAL

PHASE SHIFTER FIGURE 5

ENCOUNTER

DEPTH FIGURE 4

WITH PHASE

CLOSE ENCOUNTER OF THE PHASE KIND My initial venture into professional audio was to follow my dream of becoming a record producer.

I soon learned that many of the most successful producers began as recording engineers. So I spent 5 years working as a recording engineer, even producing a few records along the way. Attending an Audio Engineering Society Convention in

A guitarist’s effects pedal creates phase shift to produce a desired effect on sound.

New York around 1989, I happened upon a demonstration set up in a hotel suite.

magnitude and flat phase response. What do we

The person who greeted me had a wild

mean by “accurate”? This simply means true to the

look of fascination on his face, and I

source; ideally, the loudspeaker itself should do

recognized that face as Roger Nichols

Each driver has a different physical depth, so sound from each enters the listening space at different times.

(famed Steely Dan recording engineer and producer). I wanted to ask a million questions, but he moved quickly into

that matter.

Sometimes this is intentional.

A

nothing to the sound except make it louder. The signal coming out is the same as the signal going in.

To reproduce the sound from a loudspeaker the

black

same way it was delivered from the source requires

guitarist’s phase shifter pedal modulates a phase-

speakers sitting on top of a console,

a flat frequency response, then correcting for phase

shifted signal with a low-frequency oscillator to

which was set up to play discrete tracks

shift across the entire frequency range of the

achieve a desired effect on the sound of the electric

from digital recordings. He played a track

loudspeaker system just before the signal goes to

guitar. But when a loudspeaker’s task is to reproduce

by Rickie Lee Jones – whose recordings I

the transducers (loudspeakers).

sound faithful to the original source (as in cinema),

knew very well, having studied her

phase shift is something that should be minimized.

So

frequency

response

really

has

TWO

characteristics relative to frequency that describe a

demonstrating

these

small

albums among many others. I think my jaw literally dropped. I had never heard such clarity, along with the sense that the speakers and the room had somehow

Phase correction is not a trivial matter. Despite the complexity, with detailed lab measurements of a loudspeaker system it is possible to create computer algorithms that anticipate and address the

loudspeaker’s performance – magnitude (energy)

disappeared, and the singer and acoustic

phase anomalies of a well-designed and accurately

and phase (time). Real world program material like

piano accompaniment were right there in

measured loudspeaker model.

music or a film soundtrack is highly complex and

the room with me. I learned that the

requires extensive loudspeaker analysis and

constantly changing, with many, many frequency

speakers were Meyer Sound HD-1 self-

modeling using sophisticated DSP technology.

combinations all moving the same air molecules.

powered loudspeakers – a model that

Magnitude describes the level (loudness) of each frequency, and phase describes when that frequency reaches our ear relative to the other frequencies in the signal.

A well-known and often cited source on this topic describes the problem this way1:

was built as a reference device for testing microphones, not a commercialized product. But somehow they produced the most accurate, natural sound I’d ever heard from any studio monitor before or

This approach

Is it worth the effort, you might ask. Most of us have been listening to loudspeakers with lots of phase shift all our lives, and it seems normal, especially when there’s nothing to compare it to.

Consider that film sound designers and mixers

since. Flash forward a few decades, and

spend months creating a soundtrack in an attempt to

I’m now working for Meyer Sound. During

sonically depict the “vision” of the director as closely

“Let’s apply this principle to a musical event: a

my orientation I’m treated to a demo of

as possible. Every element of every sound is critically

piano key is struck and the transient pressure peak

their acclaimed Bluehorn reference

evaluated and blended together to create the

contains a huge range of frequency components,

monitor system. Flash back, and it’s “déjà

perfect dialog, music and sound effects mix that

arranged in a distinct order that our ear recognizes as a piano note. To selectively delay some portions of that transient peak rearranges the sequences in a waveform that is very definitely not the original and is less recognizable as a piano note.” (see footnote).

The bottom line: Sound can only be accurately reproduced by loudspeaker systems with both flat

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entendu”: I’m experiencing the same epiphanal listening moment I heard at AES.

The common factor – both are

designed to deliver flat frequency and phase response. I didn’t know what it

delivers the artistic intent of the filmmakers. The final mix is auditioned on the dub stage and other wellcalibrated, well-known listening spaces. The best possible moviegoing experience is one where the

meant at the time, but I know for sure that

final product is presented to the moviegoer as close

I experienced it, and nothing else sounds

to this same experience as possible – both visually

the same.

and aurally.

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KEEPING A PACE WITH AI’S RAPID EVOLUTION

rtificial intelligence has continued to develop rapidly through the final months of the year, and the

conversation around it has grown more complex.

For the cinema industry, the implications stretch far beyond the occasional novelty headline. As AI becomes part of the creative, legal and operational landscape, exhibitors need to understand both the opportunities and the risks.

Recent months have seen several major shifts.

In the UK, the new Data (Use and Access) Act came into force in August, tightening controls on how AI systems can use creative material such as images, sound, and text. The move followed increasing concern from artists, authors and studios over how their work is being scraped and repurposed by

W O R D S : P E T E R K N I G H T, COMMISSIONING EDITOR, CT MAGAZINE

machine-learning systems. For cinemas this has one clear implication: anyone using AI-generated imagery, soundtracks or video in promotional material must take care to ensure the source data is

...from new legal frameworks to hands-on tools that can genuinely help independent cinemas market and manage their venues more effectively.

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properly licensed. The age of freely generated “found” content is quickly closing.

The debate over ownership and fair use is also intensifying internationally. A growing number of studios have begun adding statements to the end of films declaring they may not be used for AI training. Warner Music and several major AI music companies have now reached the first licensing

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AI

deals covering the use of recorded music for model

blurbs in a fraction of the usual time. They are

effectively. Some cinemas are beginning to use

training. This new, more regulated environment will

particularly helpful for independent cinemas that lack

conversational AI on their websites to handle routine

affect how AI content is created and distributed,

dedicated marketing teams. The key is to use these

customer queries about showtimes, accessibility and

and cinemas will need to stay alert to what they can

systems to produce first drafts rather than finished

ticket availability. These systems are inexpensive to

safely use in marketing and in-venue material.

material, keeping the human voice and local

set up and can operate continuously, freeing up staff

personality intact. AI design software such as Canva’s

to focus on customers in the building. Whatever the

Evolving Technology

Magic Studio or Adobe Firefly can generate poster

application, the same principles apply - be transparent

While the legal framework tightens, the technology

layouts, abstract background art and social graphics

with audiences when AI is used, check the licensing of

itself continues to move forward. OpenAI, Anthropic,

quickly. The safest and most creative approach is to

any generated material, and always retain human

Google, and Mistral have all released improved

use them for original, non-film imagery rather than

oversight. Treat these tools as a way to extend

models over the past quarter, with greater ability to

relying on copyrighted stills. This not only avoids

capacity rather than replace staff.

handle images, audio and video alongside text. The

potential legal problems but can also give campaigns

focus is shifting from headline-grabbing novelty to

a distinctive and recognisable house style.

practical applications. Across the creative industries,

Artificial intelligence is now a permanent part of the cinema ecosystem. Used carelessly, it risks eroding trust and creating legal headaches. Used

AI tools are being embedded into design suites,

Data Driven Decision Making

thoughtfully, it can help independent venues

scheduling systems and analytics platforms rather

Another useful area is data analysis. A growing range

compete

than sitting apart as gimmicks.

with

bigger

chains,

enhance

of affordable tools now use AI to identify audience

communication, and save time behind the scenes.

For cinemas, the question is how to use this

trends, track engagement across channels and even

The coming year will be about finding that balance:

technology responsibly and effectively. Marketing is

suggest which genres perform best at certain times.

combining technological efficiency with the

an obvious starting point. AI-assisted copy tools can

For smaller venues, this can support programming

creativity, judgement and warmth that make cinema

help create social media posts, newsletters and event

decisions and help target marketing spend more

so distinctive.

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BBFC

MAINTAINING STANDARDS How CinemaNext Upgraded the BBFC’s Screening Infrastructure for the Digital Age WORDS: PATRICK VON SYCHOWSKI, CINEMANEXT

F

or over a century, the British

everything else, which means between

Board of Film Classification has

four and six films, plus trailers and ads,

served as the guardian of

each day between 9am and 6pm. The

cinema standards in the UK. Established

daily

in

the

different slates of films into the projection

independent, not-for-profit regulator

system, with content arriving via

responsible for classifying content

dedicated services like LANsat and

before it reaches British cinema screens.

Qubewire, as well as downloads from

With

1912,

the

BBFC

remains

workflow

involves

ingesting

one-off

numerous other sources. This creates

screenings and film festivals (which can

significant data transfer demands across

be approved by local councils), virtually

the network. The organisation has

everything shown in UK cinemas must

responded by installing 10Gb network

first pass through the BBFC’s screening

switches to handle the volume, but the

rooms in Soho Square. It’s a remarkable

screening infrastructure itself needed

rare

exceptions

for

modernisation to keep pace with both

responsibility. In 2024 alone, the organisation classified 1,256 films and 1,047 trailers,

detail than regular viewers might.” Individual

the industry and the workload. This is where the

screening between 20 and 30 unique titles each

sequences might have to be watched and re-

BBFC turned to the CinemaNext UK team for the

week. But unlike commercial cinema operations, the

watched several times, before the evaluation goes

second time in two years.

BBFC faces distinct technical challenges. Their

into the overall report for the film or the trailer.

compliance team must scrutinise content with

A Comprehensive Technology Upgrade

sequences multiple times to ensure ratings accurately

The Challenge of Multiple Formats

reflect what audiences will experience.

The BBFC’s technical requirements extend well

completed a substantial upgrade to Screen 1, their

“We need to view cinema content in the same

beyond standard cinema exhibition. Content arrives

main screening theatre. The project centred on

way that the public will see it,” explains Joe Slatter,

at different points in the production cycle and

three key objectives: upgrading the audio system to

Infrastructure and Workflows Team Lead at the

through various channels. Whilst the majority comes

match modern cinema standards, extending the life

BBFC. “This ensures that our ratings accurately

as a DCP (Digital Cinema Package), the team must

of their projection equipment whilst improving

reflect the experience that cinema audiences will

also handle video files, streaming links, and 3D titles.

image quality, and streamlining the operational

have. The technology we use therefore needs to

Formats such as IMAX and ScreenX require

workflow through intelligent automation. The audio

match that found in cinemas. However, we also

screening at external facilities, but the core

transformation represents perhaps the most

scrutinise films viewed in our theatre in much more

screening rooms at Soho Square must accommodate

significant change for the compliance team. The

forensic attention to detail, often reviewing

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Working with CinemaNext, the BBFC recently

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previous 5.1 sound system has been replaced with a full QSC Q-SYS Core 8 Flex processor delivering 7.1 audio processing.

“The Q-SYS system is 7.1, enabling our compliance team to review films in a format consistent with commercial cinema audiences,” notes Slatter. The system includes three QSC SC2150 three-way screen speakers, twelve QSC ADS6T surround speakers with custom ceiling brackets, two QSC SB-2180 dual subwoofers, and two QSC CX-Q 4K8 amplifiers providing 8 x 500W of power.

Intelligent Control and Automation Beyond the audio hardware, the Q-SYS platform enables a fundamentally different way of working,

needed to review specific sections of a film for the

unique to the BBFC. Two QSC TSC-70-G3

compliance team. As we can now be in the same

touchscreen controllers were installed, one in the

room, communication becomes much easier.”

projection booth and one in the screening room

Previously the reviewers had to wave to the

itself, each with custom menus tailored to specific

projectionist/technical

operator

use cases. These allow users to control sound,

porthole

CinemaNext

playback, and lighting, with additional controls

automation adapter serves as the integration hub,

available in the projection booth.

connecting the Q-SYS audio platform with the

glass.

The

through

the

PAA20+

“The touchscreens have been very useful as

projection and lighting systems. Crucially, this

they allow those in the screening room to control the

means the LED house lighting system (part of the

sound and lighting themselves, cutting out a lot of

broader infrastructure upgrade) can now be

unneeded communication between viewing staff

controlled directly via the Q-SYS touchscreens from

and the projection team,” Slatter explains. “The

either the projection room or the screening room

ability to control DCPs from within the screening

itself. The BBFC need to be able to not just see the

room has also been very useful when we have

film on the screen, but also their notes and laptops.

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BBFC

Laser Upgrade: Extending Life, Improving Quality

turnaround times before theatrical release, and the

the actual cinema-going experience (minus

organisation had previously relied on external

the popcorn).

Rather than replacing their seven-year-old Barco

screening rooms during busy periods, incurring

DP4K-17B projector entirely, the BBFC opted at

both costs and logistical complications, not least

Partnership and Results

CinemaNext’s suggestion for Barco’s laser light

given the security requirements of handling

Andre Mort, Technical Director at CinemaNext UK,

upgrade kit. It proved an astute decision for a non-

completed pre-release Hollywood blockbusters.

reflects on the successful collaboration: “We were

profit organisation mindful of both capital

“The addition of a second screen has vastly

delighted to deliver the recent technology upgrade

improved the BBFC’s workflow,” Slatter confirms.

to BBFC Screen 1, which included a full transition to a

“Adding the laser upgrade made sense in that it

“Investing in a second screening room in our offices

Q-SYS audio system and the installation of a laser

extended the life of the projector, improved the

allowed us to increase screening capacity and so

light upgrade kit into the existing Barco 4K projector.

picture quality and reduced costs in terms of power

reduce turnaround times. We also ultimately

The new Q-SYS platform allows certifiers to easily

consumption and new lamps no longer being

reduced costs by removing the need to go to

control playback and routing throughout the room,

needed,” Slatter points out.

expenditure and ongoing operational costs.

external screening rooms.” The second screen has

whilst the PAA20 ensures seamless automation and

The laser system also delivers improved

also proven invaluable for senior staff who need to

operational efficiency. Combined with the laser

brightness and consistency whilst eliminating the

review specific scenes or trailers that have been

upgrade, these improvements enhance brightness,

recurring expense of lamp replacements. For an

referred to them. Rather than waiting for the main

consistency and long-term sustainability, whilst also

organisation that screens 20-30 films per week, the

theatre to become available, they can quickly set up

maximising the value of BBFC’s existing equipment,”

operational savings add up quickly, and the

and send content to Screen 2, enabling faster

making the project more cost-effective. Mort adds:

enhanced image quality ensures the compliance

response times for time-sensitive decisions.

“It was fantastic working once again with Joe Slatter, Felix Hockey and the wider BBFC team, particularly

team can examine content with the clarity it

Future-Proofing for Emerging Formats

following the successful installation of their second

wider refurbishment of the cinema infrastructure, including a complete reinstallation of the projection

The BBFC’s approach to technology mirrors the

supporting BBFC in maintaining world-class

booth with new power and network cabling. The

pragmatism of the wider UK exhibition sector. As

screening environments for their internal teams and

aging screening room lighting system was replaced

Slatter explains, “The BBFC is led by the film industry

industry partners.”

with LED fixtures, integrated with the Q-SYS control

and so we upgrade our cinema equipment as new

system to enable management from within the

formats emerge.”

demands.The technology upgrade formed part of a

grading screen last year. We are proud to continue

For an organisation that has safeguarded cinema standards for 113 years, the technology

Network switches and

Previous examples include the transition from

upgrade represents more than just new equipment.

projection equipment was reinstalled in the

35mm to digital projection, and the introduction of

It’s about ensuring the BBFC can continue fulfilling its

projection booth allowing for a fresh installation of

3D and high frame rate cinema capabilities when

mandate with precision and efficiency, viewing

cabling. Emergency lighting was also installed in

selecting their current Barco projector. Whilst

content exactly as audiences will experience it, whilst

Screen 1, alongside LED lighting on the viewing

physical constraints thus prevent them from

adapting to the technical demands of modern film

benches, for screening sessions where examiners

accommodating special formats like ScreenX

production and exhibition.

need to take detailed notes whilst maintaining focus

(which

the

The combination of reference-quality projection

on the content.

organisation remains responsive to industry

and audio, intelligent automation, and flexible

developments.

operational control means the

screening room itself.

Dual-Screen Capability

requires

larger

auditoriums),

The modular nature of the Q-SYS audio

classification process can focus

The Screen 1 upgrade follows CinemaNext’s

platform and the automation infrastructure mean

on

installation of a second screening room in 2024,

the system can evolve alongside emerging formats

protecting audiences whilst

which has dramatically improved the BBFC’s

such as immersive audio and HDR, ensuring the

supporting

operational capacity. Film distributors require quick

BBFC’s classification decisions continue to reflect

freedom of filmmakers.

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what

matters the

MORE INFO

most: creative

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review and update* Your Exhibitor Portal just got an upgrade — now capturing a broader range of technical capabilities.

Designed to streamline operations and enhance efficiency for exhibitors and distributors globally.

Check your MPS KDM emails for your cinema login details.

Thank you.

* over 4,000 screen capability updates a week by cinemas globally mps withmps.com

FEEL IT IN YOUR SEAT HAPTICS STEP INTO THE CINEMA SPOTLIGHT

This summer Apple turned heads with a marketing stunt that did more than create a buzz in the press: it created one in people’s hands. The trailer for F1: The Movie was billed as the world’s first “haptic trailer”, and for once the claim rang true. Viewers with iPhones didn’t just see and hear the images of cars thundering around a racetrack, they felt them. Vibrations from the phone’s built-in “Taptic Engine” echoed the growl of the engine, the surge of acceleration and the ticking countdown clock of a driver on the grid.

W O R D S : P E T E R K N I G H T, C O M M I S S I O N I N G E D I T O R , C T M A G A Z I N E

I

t was a clever way of sparking conversation,

“We started looking at haptics in 2011,” he

but more importantly it introduced many in

explains. “The goal was to see how this technology

WHAT ARE

the cinema business to a concept they may

HAPTICS?

not have encountered before. Haptics – the ability to reproduce touch sensations in sync with digital media – is quietly maturing into a creative layer that could change how audiences engage with films.

To understand what this means in practice,

could improve cinema. Over time we built the whole

pipeline:

creation,

distribution

and

rendering, so that haptics would fit with the way › H aptics is the use of vibrations or force feedback to create a sense of touch in digital media.

films are already made and shown.”

Standards For Haptics

Cinema Technology spoke with Philippe Guillotel

› E veryday examples include the buzz

That long R&D journey has now reached a turning

of InterDigital, a company that has been working

of a phone, the click feedback on a

point. In January 2025, the first international

on haptics for more than a decade and now chairs

touchscreen, or the rumble in a games

standard for haptics, ISO/IEC 23090-31, was

the MPEG Standardisation Group behind its

controller.

published. Guillotel also leads the MPEG group

development.

InterDigital is not a name most exhibitors will know. Based in the US, with a major research lab in

› I n cinema, haptics can underline the roar of an engine, the impact of a crash or the tension of a countdown clock.

responsible for it. At first glance this might sound like technical housekeeping, but in reality it is the crucial step that could bring haptics into the

Rennes, France, the company specialises in the

› I t is not the same as 4D. Haptics is

mainstream. Until now, haptics in cinemas has

technologies that make immersive media possible

purely tactile feedback, while 4D also

been tied to specific vendors, each with their own

– wireless, video, AI – and is a long-standing

uses motion, air, water and scent

proprietary formats. Content created for one

contributor to international standards. In Rennes,

effects.

platform could not easily be used on another. The

Guillotel leads the New Media Coding Group,

new standard provides a common way of

where his team has been investigating how touch

describing and carrying haptic data, opening the

can be added to the cinema experience without

door to interoperability across suppliers, devices

breaking established workflows.

and distribution channels.

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HAPTICS

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your body,” Guillotel points out. “The rumbling of the car, the intensity of speed, even the anxiety of the driver – all of these can be conveyed through haptics.” It showed how touch can emphasise what is happening inside the story world and amplify emotions at the same time. So how are haptics actually created? There are two main routes. A haptic track can be authored once a film is finished, in much the same way a score is added after

the

picture

is

locked.

Specialist

“haptographers” study the film and design tactile effects to match the scenes. Alternatively, haptics can be considered from the start of production.

Guillotel argues this is the ideal approach. “When you create a movie you think about sound design

recognised standard reduces the risk of being

from the beginning. It should be the same for

THE F1

For exhibitors, the importance lies in choice. A

haptics. Why do you need it here? How does

TRAILER EXPLAINED

locked into one ecosystem and makes it more likely that haptic content will eventually arrive in

it serve the story? Where will it have the most impact?”

To promote F1: The Movie, Apple released a “world-first” haptic trailer in

Interoperability

But what exactly are we talking about? Most

2025. Viewers with iPhones felt

Haptics is already part of the premium cinema

people already encounter haptics daily without

vibrations from the phone’s “Taptic

landscape through established 4D providers.

thinking about it – the click feedback from a phone

Engine” that matched the on-screen

D-BOX, MediaMation Mx4D and CJ 4DPLEX 4DX

screen, the vibration of a games controller, the

action. The haptics echoed the rumble

all integrate vibrations into their systems alongside

buzz of a smartwatch. In a cinema context, haptics

of engines, acceleration, and the

motion, wind and other effects. These are proven,

the same way as picture and sound.

means carefully designed tactile effects: a vibration echoing the rumble of an engine, a pulse that underlines the impact of an explosion, or a low tremor to heighten suspense. Crucially, this should

driver’s countdown clock. It was a limited mobile release rather than a cinema-wide rollout, but it showed how touch can support storytelling and

the broader 4D experience. Haptics can be

WHAT IS ISO/IEC 23090-31?

interoperability

between

providers,

manufacturers and content creators who would no longer be tied to one technology.”

The potential goes further. MPEG’s new format

refers purely to the sense of touch.

The distinction matters because haptics can be

and specific playback devices are used,” Guillotel eases

included within those systems, but on its own it

Why Is It Different?

as a proprietary island. “Usually proprietary formats explains. “Having standards to represent the data

generated significant buzz.

not be confused with 4D cinema. Motion seats, water sprays, gusts of air and scents are part of

popular formats, but each has until now operated

has been designed to fit into the ISOBMFF Published in January 2025, this is the first international standard for coding

container that underpins common formats such as MP4 and 3GP, and to travel across familiar

and representing haptics. Developed

distribution protocols including RTP and DASH. In

offered without the full 4D package. It can be

by MPEG (the same group behind video

practice, this means that haptic cues could one day

delivered through motion seats, but also through

standards such as MPEG-2 and HEVC).

be carried in the same file as audio and video, time-

cushions, seatbacks or headrests, and increasingly

Allows haptic data to be carried in

stamped and synchronised so that cinemas can

through consumer devices. “Haptics is a new

familiar

handle them using their existing workflows. For

creative layer, like sound,” Guillotel says. “You don’t need it everywhere, but used in the right places it can support the story and make the experience more powerful.”

formats

like

MP4,

and

distributed using standard protocols such as RTP and DASH. For cinemas, it means haptics can eventually be ingested, checked and played back

exhibitors, that would take haptics out of the “special case” category and into everyday practice.

Keeping everything in sync is essential. If the

alongside picture and sound, rather

vibration lags behind the action, immersion is lost.

The F1 trailer illustrated this well. A film about

than relying on proprietary systems.

Proprietary systems manage this today within their

high-speed racing is almost tailor-made for

InterDigital’s Philippe Guillotel chairs

own ecosystems. Standards, however, promise a

haptics. “Driving a fast car is something you feel in

the group responsible for the standard.

future where haptic cues can be QC’d and

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HAPTICS

monitored just like a sound track. That kind of

it gives audiences a taste of what touch can add to

will offer lighter solutions such as cushions or

reliability will be essential if audiences are to take

storytelling. Audience response is another critical

vibrotactile seating. “Depending on the movie,

haptics seriously.

factor. The F1 trailer worked partly because it was a

audiences might prefer one or the other,” he says.

surprise. Nobody expected their phone to vibrate in

“Just as today they choose between 2D, 3D, HDR or

Affordability

time with a trailer, and the novelty sparked

spatial sound.”

So what does this mean in practical terms? One

conversation. In cinemas the situation is different.

More broadly, he believes haptics sits

lesson comes from recent experience. Twisters was

Premium 4D tickets come with clear expectations,

alongside panoramic screens, HDR and immersive

shown in haptic-enhanced 4DX theatres worldwide,

while audiences encountering subtler haptic add-

sound as part of the reinvention cinemas need.

with effects simulating the storm. It drew strong

ons will judge them by how well they serve the film.

“Streaming has made content easy and cheap to

audiences and exceeded box office expectations.

“For the best outcome the focus should be on

access. The cinema industry can respond by

Guillotel notes that the success underlined three key

making sure the audience has a comfortable

offering something more immersive and engaging.

needs: interoperable formats to make deployment

experience where haptics supports the story and

Haptics is one of the ways to do that.”

easier, training for creatives to design good haptic

creative intention,” Guillotel emphasises.

tracks, and more affordable consumer devices to

The bottom line is that haptics is moving from experiment to usable tool. The F1 trailer showed

broaden access. That affordability question is key.

Delivering Good Experiences

what is possible, but the deeper story is the

Not every cinema can justify a full 4D installation, nor

Comfort is also about restraint. Haptics should not

progress on standards, the growth of hardware

will every market support it. A number of lower-cost

be constant. Used selectively, it can draw audiences

options, and the recognition that new creative skills

options are emerging. Cushions such as Razer’s

deeper into the narrative. Used too heavily, it risks

are needed. For exhibitors the message is not that

Freyja contain multiple actuators that create

feeling like a gimmick.

haptics will transform every screening, but that it is

spatialised vibrations. Simply placed on existing

The final challenge is skills. Technology alone

becoming another option – a way of adding value,

seats, they can deliver tactile effects without any

will not deliver good haptics. “There is a clear need

testing new formats and giving audiences fresh

permanent refit. “Cushions could easily augment

for education in creative schools, to train new

reasons to come back.

existing seating, much like 3D glasses once did,”

creatives – haptographers – on how to create good

Used well, haptics won’t

Guillotel says. “They are easier for theatres and less

haptic experiences,” Guillotel says. Just as sound

be a gimmick. It will be one

expensive to set up.” Similar developments are

design became a craft of its own, haptics requires

more brush on the canvas,

underway in vibrotactile seatbacks, armrests and

creative judgement. Without well-designed tracks,

binding what people see and

headrests, opening different levels of investment.

audiences may dismiss the effect. With them,

hear to what they feel.

The advantage is flexibility. Exhibitors can

haptics can become a natural part of the cinematic

experiment with haptics at relatively low cost,

language. Looking to the future, Guillotel expects

offering them selectively for particular films or

different levels of adoption. Some theatres will

events, and scaling up if demand grows. The

continue to invest in premium 4D auditoriums,

experience is not identical to a motion platform, but

where haptics is part of a high-end package. Others

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DRIVE-INS GEAR UP FOR A BILLION DOLLAR REVIVAL How outdoor cinema is bouncing back with tech upgrades, cultural cachet, and fresh global investment.

W O R D S : P E T E R K N I G H T, C O M M I S S I O N I N G E D I T O R

A

s cinemas globally adapt to shifting

2033, with a compound annual growth rate of about

audience

competitive

5%. While definitions vary, what is clear is that this

entertainment options, one form of

sector is capitalising on a unique combination of retro

exhibition has found a surprising second wind: the

charm, digital reinvention, and outdoor enthusiasm.

habits

and

humble drive-in. Once a nostalgic footnote in the

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history of cinema, new data suggests that drive-in

What’s Driving the Revival?

theatres are mounting a robust comeback.

The COVID-19 pandemic undeniably catalysed the

Recent forecasts from Market.us and Global

resurgence of the drive-in. But its continued growth

Market Insights (GMI) indicate the global drive-in

owes much to broader societal trends. The 2024

cinema market could grow from approximately

Outdoor Participation Trends Report, published by

US$4.9 billion in 2023 to around US$8 billion by

the Outdoor Industry Association, revealed that

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DRIVE-IN CINEMA

over 57% of Americans aged six and above

Alamo Drafthouse and local independents have

engaged in outdoor activities last year—a rise of

leaned into nostalgia, combining vintage aesthetics

over 4% compared to previous years. In an age of

with high-quality digital projection and contactless

hyper-connectivity and indoor fatigue, drive-ins

ticketing. A 2023 report by the National Association

offer a rare blend of communal experience and

of Theatre Owners (NATO) noted a 5% increase in

physical distance. The success of drive-ins is also a

drive-in market share in the US.

testament to their ability to innovate around the core

Canada, too, has sustained a healthy niche

cinematic experience. Pre-show entertainment,

market. Venues like the Mustang Drive-In in Ontario

local food vendors, seasonal programming, and car-

and the Starlight Drive-In in British Columbia have

based novelty add-ons are all part of the

upgraded to digital projection while keeping

contemporary drive-in offering. Families attend in

analogue charm intact. Regional film festivals have

pyjamas, couples on date nights enjoy retro kitsch,

started incorporating drive-in legs into their

and cinephiles find joy in cult classics screened

programming—one more indicator that these

under the stars. It’s a throwback—and a reinvention.

spaces are seen as legitimate venues for serious

Notably, the format’s flexibility has proven key to attracting new demographics. Urban planners

cinematic presentation.

Across

Europe,

the

picture

is

more

and local authorities increasingly view drive-ins as

fragmented but equally inventive. In the UK,

low-cost tools for revitalising disused spaces. Car

Adventure Cinema leads a growing movement of

parks, fairgrounds, and abandoned lots have all

open-air screenings, offering hundreds of events

been transformed into temporary cinemas, sparking

annually. In Wales, Woodside Drive-In (near

community engagement and often doubling as

Welshpool) has built a loyal following by

platforms for public health messaging, local art

combining traditional drive-in features with in-car

showcases, and educational programming.

food delivery and flexible screening formats. A newer operation in South Wales has already

A Global Perspective

claimed the title of “UK’s No. 1 drive-in” on social

In North America, where the format was born, the

media, underlining both consumer appetite and

drive-in has found fresh momentum. Operators like

the power of grassroots branding.

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CASE STUDY

Pop-up drive-ins have also proved a success story across urban Europe. In Sweden and

and even real-time interaction during screenings.

In England and Wales, drive-ins continue

It’s part cinema, part digital playground.

to flourish, albeit unevenly. Adventure

Denmark, jumbotron-style LED screens have

In addition, innovations in screen materials,

allowed for flexible, often mobile cinema

weather-resistant audio systems, and even

installations. These are often timed to coincide

drone-based

with public holidays or major sports events,

gradually filtering into the market.

blurring the line between cinema and festival.

Elsewhere, drive-ins have found their place in

projection

experiments

are

and

minimise

force, while smaller operators such as Woodside Drive-In bring a strong sense of community to rural areas. The latter in particular has demonstrated how digital

The aim is to enhance image clarity, widen accessibility,

Cinema has established itself as a major

projection and modest infrastructure can

environmental

still deliver high-impact experiences.

diverse markets. Rooftop cinemas in Mumbai

disruption. Partnerships with mobile tech firms are

Wales appears especially receptive. In

launched by Indian multiplex chain PVR bring

helping venues collect data on audience

addition to the above, at least seven new

Bollywood blockbusters to urban audiences

preferences, opening the door to smarter

drive-in projects are in development,

under the open sky. In Australia, a country once

programming and targeted marketing.

some with public sector support. One venue in South Wales has been named

home to over 300 drive-in sites, stalwarts like

the best drive-in experience in the UK by

Dromana and Yatala continue to modernise their

Challenges and Opportunities

operations while preserving tradition.

Naturally, the drive-in model has its limitations.

several online review aggregators and social media rankings. It’s a trend that

Weather dependency remains a perennial

reflects both the cultural appetite for

Format and Technology

concern,

cinema and a broader push towards

Technological innovation has been critical to the

Licensing for outdoor screenings can be complex

reimagining

survival, and now the growth, of drive-in cinema.

and costly.

And while digital projection has

growing interest from educational and

Gone are the days of creaky 35mm reels and tinny

improved quality, the capital expenditure for

cultural bodies in using drive-in formats

speakers. Today, most drive-ins use digital

equipment and setup still represents a hurdle for

for more than just movies. Touring art

projectors with FM radio transmission for audio.

newcomers.Yet these are challenges, not barriers.

Some are even experimenting with augmented

The cost profile remains significantly lower than

reality overlays or app-based interactivity.

traditional cinema builds, and the potential for

particularly

in

Northern

Europe.

public

space.

There’s

installations, science programming for schools, and even community news broadcasts have been trialled. In one recent example, a local arts trust

According to GMI, this segment generated

multi-use venues (pairing films with live music,

approximately US$2.4 billion in revenue in 2024.

markets, or community events) opens up new

deliver a mobile drive-in showcasing short

Screen sizes vary widely. Smaller screens (under

revenue

that

films created by Welsh filmmakers. The

7m) account for a significant share of the market.

venues operating from restaurant parking lots

event was free to attend and saw a turnout

Mid-size screens (7–15m) continue to dominate

alone are projected to see a 6.8% CAGR over the

of over 500 cars across three nights. Other

due to their flexibility and balance of scale.

next decade.

initiatives include bilingual screenings

streams.

Market.us

reports

Meanwhile, larger venues are introducing LED

There’s also a growing appetite for themed

walls or inflatable screens to bypass traditional

screenings. Horror nights, car-themed classics,

infrastructure challenges.

1980s retro evenings, and seasonal programming

Digital ticketing and concessions apps have

like Halloween and Christmas specials are helping

improved accessibility. Venues now offer QR-

venues extend their operational calendar and

code ordering, on-site GPS-based car locating,

deepen audience engagement.

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partnered with a regional council to

and drive-in debates, reflecting the region’s cultural diversity and ongoing innovation. These projects highlight how drive-in cinema can support language preservation, community dialogue, and grassroots creativity.

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DRIVE-IN CINEMA

57% us$8bn

OF AMERICANS AGED SIX AND ABOVE ENGAGED IN OUTDOOR ACTIVITIES LAST YEAR—A RISE OF OVER 4% COMPARED TO PREVIOUS YEARS.

300

IN AUSTRALIA, A COUNTRY ONCE HOME TO OVER 300 DRIVE-IN SITES, STALWARTS LIKE DROMANA AND YATALA CONTINUE TO MODERNISE THEIR OPERATIONS WHILE PRESERVING TRADITION.

RECENT FORECASTS FROM MARKET.US AND GLOBAL MARKET INSIGHTS (GMI) INDICATE THE GLOBAL DRIVE-IN CINEMA MARKET COULD GROW FROM APPROXIMATELY US$4.9 BILLION IN 2023 TO AROUND US$8 BILLION BY 2033,

supported

by

pop-up

architecture

and

weatherproof tech.Sustainability could also play a part. With solar-powered LED screens and battery storage systems becoming more viable, drive-ins may even set benchmarks for energyefficient exhibition.

Technological innovation has been critical to the survival, and now growth, of drive-in cinema.

There’s also a noticeable

uptick in interest from brands and sponsors. Auto manufacturers, outdoor clothing companies, and local hospitality businesses are recognising the alignment of their values with the drive-in ethos.

Branded

content

and

bespoke

co-hosted

Importantly, drive-ins offer greater adaptability for

evenings are becoming more common, bringing

cultural programming. Several venues across

commercial resilience to independent operators.

Europe and the U.S. have hosted drive-in theatre

And as climate change prompts more

plays, live opera simulcasts, and experimental

reflection on how we use space, the minimal

art

different

footprint and multi-functionality of drive-ins may

demographics and demonstrate how drive-ins

films.

These

events

draw

offer a model worth replicating. Cinema, in this

can support a broader cultural ecosystem beyond

open-air form, becomes not only a screen but a

mainstream cinema.

community platform, a cultural beacon, and a shared ritual. In a world increasingly geared

The Road Ahead

toward personalised, screen-based consumption,

Looking to the future, the drive-in is poised to do

the drive-in cinema reminds us that the shared

more than merely survive. Expect to see greater

experience of film still holds

investment

powerful

in

hybrid

events,

expanded

allure—especially

programming (including live sports, streamed

when wrapped in nostalgia,

concerts and festivals), and even integration with

delivered with technological

on-demand platforms. The next phase may see

finesse, and staged under an

drive-ins becoming year-round destinations,

open sky.

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VISTAVISION

HISTORIC VISTAVISION LONDON SCREENINGS WORDS: MARK TROMPETELER, IMIS.

VistaVision Projected as Photographed at the Odeon Leicester Square

P

aul Thomas Anderson is the kind of filmmaker that committed fans of cinema will surely want to celebrate. He is a

director known for a love of analogue celluloid film.

Anderson is a filmmaker who admires and exploits the

techniques,

beautiful

aesthetics,

image

properties, colours and subtle impact of analogue cinematography. He is also known for his deep collaboration with cinematographers, his advance testing of film stocks, and choosing the right cameras and lenses to get the look and effect that he is trying to achieve in films. Some readers might remember “The Master” (2012) shot in 65mm. with presentations using 70mm. prints internationally.

With “One Battle After Another” Anderson’s perfectionism in exploring and using celluloid in a digital age has reached a new historic milestone.

VistaVision Re-Awakened Collaborating again with cinematographer Michael Bauman, they have shot an entire modern feature film on 35mm VistaVision using VistaVision cameras.

They previously worked together on “Licorice Pizza”.

Their new collaboration is a significant milestone for enthusiasts of large format film and quite an achievement for a feature film production in this modern cost conscious age of digital production.

The recent film “The Brutalist” was celebrated for its amazing visual style and cinematography, and parts of that film were shot in VistaVision, alongside a number of other analogue and digital formats. The cinematographer, Lol Crawley, won the Oscar for Best

Cinematography

for

“The

Brutalist.”

Anderson’s, and the production company’s

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milestone is truly historic when you consider that the

fidelity” format. It is a natural precursor to IMAX and

last feature film shot entirely in VistaVision was the

in these respects related to it. The origination of this

The London VistaVision Presentations

Marlon Brando film “One Eyed Jacks” back in 1961.

milestone in VistaVision has also facilitated the

At the beautifully refurbished iconic Art Deco Odeon

(Some web sources seem to indicate that parts

production of IMAX 70mm analogue prints for the

Leicester Square in London, the public screenings in

of “One Battle After Another” were shot using super

release of the movie, alongside its much wider

VistaVison started on Friday 26th September, the

35mm – a format where the camera uses the full

digital release.

first day of the UK release of the film. The film’s

width of the 35mm film including the part of the film

Paul Rayton, in a recent “in70mm.com” article,

London première, screened in VistaVision, was on

normally reserved for the optical track on the side of

reported on two “one off” VistaVision recent

Tuesday 16th September, with a cast and crew

the film.)

screenings of classic VistaVision film prints at the TCL

VistaVision screening the previous day. I understand

Chinese Theatre in Los Angeles as part of the Turner

there was a preview screening on 24th September.

Four 35mm. Large Format Presentations

Classic Movie Festival. Paul Thomas Anderson might

It was with great excitement that we attended the

be considered by some as more of an auteur or film

second public screening on the opening day.

Readers may know that VistaVision involves 35mm

maker with a personal subtle style. He is not known

Michael Mannix the projectionist, afterwards told

film travelling horizontally through the 35mm camera

for mass appeal box office “blockbusters”. It is

me that it was the seventh run of that print through

and projector. The image is captured on a piece of

another remarkable achievement that Anderson

the VistaVision projector.

film bordered each side by 8 perforations.

and the film’s production company secured a season

The screenings were all held in the main 800

A VistaVision camera records the image on a surface

of screenings in VistaVision using VistaVision prints

seat screen. On opening day the cinema was busy,

area of film that is more than twice the size of a

and projectors at four locations. It is a testament to

particularly for the third evening screening. A

conventional vertical frame of 35mm film bordered

the support and determination of Warner Bros, and

member of staff told me they were expecting and

by four perforations on each side.

other companies involved in cinema exhibition, in

hoping for a run of some three weeks of screenings in

Furthermore like IMAX, VistaVision doesn’t use

achieving this feat. The locations were The Vista

VistaVision with the most popular weekend days

anamorphic lenses to achieve its imaging and

Theater in Los Angeles, the Regal Union Square 17 in

running three screenings per day. However, like all

projection. It is often projected with an aspect ratio

New York, the Coolidge Corner Theatre in

modern cinemas, they would adapt and alter the

of 1.5:1. Modern fine grain films and increased frame

Brookline, Mass., and the Odeon Luxe Leicester

number of VistaVision screenings according to box

size continue to make it truly a “motion picture high

Square in London.

office demand, advance booking trends and anticipated attendances. Some evening screenings would also include a short recital of music showcasing the Odeon’s classic Compton cinema organ, this short recital taking place between the advertisements and the trailers. The VistaVision prints (from FotoKem in L.A.) in all four locations

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VISTAVISION

feature DTS sound with the time code on the edge of the film print. It is important to note that the prints made were contact prints made from the original camera negative!!

A Superlative 35mm Large Format Experience So, what was the experience of a lifelong film fan watching a VistaVision print “projected as photographed” on modern film stock? It was truly remarkable! The image quality was beautiful. We sat in the Royal Circle and during some quiet moments in the film we could very faintly hear that memorable “purring” of the mechanical projector in the distance.

There was an initial shock at seeing images from such a very modern film projected in the 1.5:1 aspect ratio. At first it seemed strange seeing such an aspect ratio in such a large auditorium where much wider aspect ratios were the expected norm. I was concerned as to whether I could cope with watching

those parts of the image, probably wholly

a near 2 hour 50 minute film (no intermission) in such

undetected by the majority of the very much younger

an old aspect ratio in such modern surroundings.

audience members. The richness and depth of the

Within minutes the film captured your attention and

photographed colours and sharp details and

you became engrossed in it. The nature of the aspect

textures just drew me into the screen. It was such a

ratio became irrelevant as the cinematography,

contrast to the often more colder, over detailed

aspect ratio and framing were all integral to the

clinical appearance that digital can appear to have

telling of the story. The images were rock steady – not

when compared to the warmer more mellow image

a hint of unsteadiness – even in the stark high contrast

appearance of high quality celluloid imagery.

main title and end titles. The images were as steadfast

Even at that size of screen, at our viewing

as from any digital projector. In the pale highlight

distance, there was absolutely no hint of grain.

areas of some scenes there was a very feint flicker in

Sometimes in certain lighting situations film can create images of potentially too high contrast, and this was the case in some shots. This is where digital copes with high contrast situations much better. But that is all part of the overall celluloid experience. The

at the bottom of the digital posters around the

whole experience for me was stunning. VistaVision

cinema. Michael Mannix did mention that

projected as photographed yielded image quality of

some screenings might have a short introduction

such detail, richness, luxuriousness, and depth all at

alerting the significance of the projection format to

once. To me the contrast between the VistaVision

the audience.

quality and look, compared to the look of the digital

To this aging film fan, it seemed a little sad that

trailers and advertisements that preceded the

possibly the considerable size audience attending

feature film was considerable.

the first three screenings of this opening day, may contain a significant proportion that have little or no

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Another Analogue Large Format In The Modern Cinematic Toolbox

knowledge of the significance of the particular

The fact that filmmakers are increasingly considering

enjoy the film, and how it was

utilising celluloid film as a tool in such a digitally

being presented may not be of

dominated cinema environment is so refreshing. In

interest. To me it was without

terms of signage, not much emphasis was being

doubt the best presentation of

made of the fact that the film was being presented in

35mm. film that I can ever

VistaVision. All that really existed was the reference

remember seeing.

presentation they were seeing. They were there to

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THE WORLD GOES TO THE MOVIES.

THE MOVIE WORLD GOES TO CINEMACON. The Official Convention of