Cinema Technology Magazine - December 2009

The leading specialist publication for cinema industry professionals

Vol 22 • No 4 • December 2009

EXCLUSIVE THE FIRST IN DEPTH LOOK AT

TI’s DLP CINEMA® 4K CHIP REEL CINEMAS - A DIFFERENT APPROACH

BEST PRACTICE - PROJECTIONISTS’ TRAINING ALTERNATIVE CONTENT - ‘LIVE CINEMA’ BEHIND THE IBC BIG SCREEN

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camstage

Providing complete cinema and theatre solutions • Screens • Screen Frames • Masking Systems • Pleated Wall Drapes • Acoustic Wall Panelling • Theatre Stage Equipment With over 20 years experience, Camstage has established a global reputation as a specialist provider of a full range of services with turn-key solutions for the cinema and theatre industry.

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SOUNDTRACK JIM SLATER, MANAGING EDITOR

I

t has been quite a year for the Cinema Exhibition business! Elsewhere the news was of financial gloom and doom as banks were bailed out and governments printed increasingly worthless money, so it has been particularly good to see how our own industry has not only thrived, with some record audiences and box-offices, but also that it continues to invest in new equipment and new cinemas, displaying (sometimes with fingers crossed, I am sure!) the confidence that is needed to ensure a successful future.

Cynics tell us that the big cinema chains are little more than finance and property companies out to make money, but I know from my dealings with some of the top technical people in our industry that we are fortunate that many of those in high places are people with vision who also have a real enthusiasm for cinema, which drives their day to day work. At a time when the technologies are changing almost daily, these people are not only having to make plans for future investment in equipment but are also having to persuade their financial bosses of the validity and future profitability of these decisions, whilst all the time ensuring that the daily screenings continue and that the customers are kept happy.

It is not only cinema owners and operators who

are involved in making the industry a success.

Cinema equipment manufacturers, after previous decades of relative stagnation whilst serving a ‘mature’ industry, have leapt at the chance of moving into the Digital Cinema business, making huge investments in an uncertain future, being brave enough to experiment as they develop different solutions to meet the needs of cinemas throughout the world. The cinema service companies too have been swift to move into the digital cinema era, working in partnership with digital equipment manufacturers and re-training their cinema engineers to cope with the new installation and service techniques that are needed.

Digital Cinema hasn’t just ‘happened’, and there has so-far been no great tipping-point, but it is fascinating to see how the rollout keeps progressing steadily - 2009 has seen the bigger chains ‘just get on with it’, quietly installing digital projection equipment at sites throughout the land, often as part of the growing move to 3D. They haven’t waited for a grand agreement on Virtual Print Fees, but have gone ahead regardless, whilst at the same time numerous independent operators have also used their own money (or borrowed it!) to buy digital equipment, reasoning that this just has to be the way forward. Even the smallest operators,

for whom the financial problems of a move to digital are likely to be the most difficult, have seen something of a light at the end of the tunnel as the CEA has been working hard to provide solutions at this end of the market.

Cinema Technology has also done well this year, providing more pages and more up to date information than ever before, as well as a live cinema news feed on its freely available website. I am ever conscious that this is only possible because of the partnerships within our industry. We are reliant on advertising revenue to be able to ensure that the magazine gets to its readers in over 50 countries, and that it can be sent to opinion formers and those who make the financial spending decisions in the cinema industry, as well as to cinema managers and projection teams throughout the world. I am fortunate to meet a lot of people as I put the magazine together, and have visited manufacturers and service companies as well as dozens of cinemas throughout the year. There is a constant dialogue between us, and it is great that so many people are happy to provide the in-depth information and to write the substantial technical articles for CT that make our magazine unique. Thanks to all those who work in partnership with us to ensure its continuing success.

www.cinematechnologymagazine.com

Jim.Slater@SlaterElectronics.com

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Volume 22 • Number 4 • December 2009

www.cinematechnologymagazine.com

INSIDE THIS ISSUE NEWS /FXTSFFM MBUFTU JOEVTUSZ IBQQFOJOHT

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/PUFT GSPN B NPWJF FOHJOFFST EJBSZ #PPL SFWJFX $JOFNBT PG /PSUI 5ZOFTJEF On the cover: Chief Projectionist Steve Laird at the Reel Cinema in Loughborough.

See article on page 22. Photo Tony Dale Photography.

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7

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FOR THE LATEST CINEMA INDUSTRY NEWS - AND MORE www.cinematechnologymagazine.com

* The DLP Cinema components are supplied by Barco, one of the licensees of the DLP CinemaÂŽ technology from Texas Instruments.

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XXX DJOFNBUFDIOPMPHZNBHB[JOF DPN t DJOFNB UFDIOPMPHZ t EFDFNCFS

9

NEW DIGITAL CINEMA PROJECTORS FROM NEC

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10

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DIGITAL PROJECTION DLP CINEMA EXCLUSIVE REPORT ®

DLP Cinema reaches 4K

®

Cinema Technology was granted unique access to the TI design team to bring details of the story behind the latest 4K chipsets and their planned rollout ...

Exclusive report by Jim Slater It was in June 2009 that Texas Instruments DLP Cinema® surprised the exhibition industry by announcing plans to produce 4K chips and to incorporate enhanced 4K technology as an extension of the next generation electronics platform for DLP Cinema projectors.

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Since 1999 when DLP Cinema® projector technology was publicly demonstrated for the first time with the release of Lucasfilm’s Star Wars: Episode I - The Phantom Menace the company has worked closely with projector manufacturers to continuously develop the product range. We saw the 2K chip introduced at Showest in 2003, and the following year TI showed how DLP could be used for 3D, with the first 3D feature film, Disney’s Chicken Little being shown in 2005. Development continued, and in 2007 a smaller 0.98 2K chipset was introduced, allowing for smaller, more efficient projectors to be designed, thus expanding the market to allow smaller cinemas to take benefit from the advantages of DLP Cinema.

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As of September 2009, 14,000 projectors with DLP Cinema technology have been installed, with over 7,000 of these 3D enabled, allowing the company to claim a 95% market share of the digital cinema worldwide and to boast that DLP Cinema Offers ‘The widest variety of solutions to Illuminate every size theatre screen’.

14

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15

How the TI DLP Cinema® system works a reminder for CT readers At the heart of every DLP Cinema® projection system are three optical semiconductors known as DLP Cinema® chips. The DLP chip was invented by Dr. Larry Hornbeck (right) of Texas Instruments in 1987.

It is a sophisticated light switch or modulator which contains a rectangular array of millions of hinge-mounted microscopic mirrors. Each of these micromirrors measures less than one-fifth the width of a human hair.

When a DLP® chip is coordinated with a digital video signal, a light source, and a projection lens, its mirrors can reflect a digital image onto a screen or other surface. The DLP® chip and the sophisticated electronics that surround it are what we call DLP® technology.

The grayscale image

ness applications such as cinema and large venue displays rely on a 3-chip configuration to produce stunning images, whether moving or still.

In the 3-chip system found in DLP Cinema® projection systems, the white light generated by the lamp passes through a prism that divides it into red, green and blue. Each DLP® chip is dedicated to one of these three colors; the coloured light that the micromirrors reflect is then combined and passed through the projection lens to form an image.

A DLP® chip’s micromirrors are mounted on tiny hinges that enable them to tilt either toward the light source in a DLP® projection system (ON) or away from it (OFF)-creating a light or dark pixel on the projection surface. The bit-streamed image code entering the semiconductor directs each mirror to switch on and off up to several thousand times per second. When a mirror is switched on more frequently than off, it reflects a light gray pixel; a mirror that’s switched off more frequently reflects a darker gray pixel.

In this way, the mirrors in a DLP Cinema® projection system can reflect pixels in up to 4096 shades of gray with a 12 bit input, to convert the video or graphic signal entering the DLP® chip into a highly detailed grayscale image.

Adding color 3-CHIP DLP® technology-enabled projectors used to produce very high image quality and very high bright-

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The DLP Cinema® projection system is capable of producing no fewer than 35 trillion colors.

The on and off states of each micromirror are coordinated with these three basic building blocks of color. For example, a mirror responsible for projecting a purple pixel will only reflect red and blue light to the projection surface; our eyes then blend these rapidly alternating flashes to see the intended hue in a projected image.

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DJOFNB UFDIOPMPHZ t EFDFNCFS t XXX DJOFNBUFDIOPMPHZNBHB[JOF DPN

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VTFE GPS UIF FYJTUJOH , DIJQT VTJOH 5* T XFMM FTUBCMJTIFE NJDSPO UFDIOPMPHZ 1FSIBQT TVSQSJTJOHMZ UIF UJOZ NJSSPST GPS , %-1 DBO EFMJWFS UIF TBNF QFSGPSNBODF MFWFMT EFMJWFSFE CZ UPEBZ T , %-1 FWFO UIPVHI FBDI , NJSSPS JUTFMG JT POMZ B RVBSUFS UIF TJ[F PG UIF , NJSSPS 8JUI GPVS UJNFT BT NBOZ NJSSPST JO UIF TBNF TVSGBDF BSFB IFBUJOH BOE DPPMJOH NJHIU IBWF SBJTFE DSJUJDBM JTTVFT CVU UIF , EFWJDFT DMFWFSMZ MFWFSBHF B NPEJmDBUJPO JO UIF DIJQ QBDLBHJOH UFDIOJRVF UIBU BDUVBMMZ BMMPXT UIFN UP EJTTJQBUF IFBU NPSF FGmDJFOUMZ UIBO UIF FYJTUJOH , EFWJDFT TP DPPMJOH JT OPU FYQFDUFE UP CF BO JTTVF

Available resolutions 1SPKFDUJPOJTUT XJMM LOPX UIBU EVF UP JOGPSNB UJPO CBOEXJEUI MJNJUBUJPOT BOE SFTUSJDUJPOT PO DIJQ TXJUDIJOH TQFFET TPNF EJHJUBM DJOFNB QSPKFDUPST DBO POMZ QSPEVDF % JNBHFT BU MFTT UIBO UIF GVMM , SFTPMVUJPO TJODF UIFZ EPO U VTF UIF GVMM BSFB PG UIF DIJQ * UIFSFGPSF BTLFE UIF 5* DIJQ EFTJHOFST XIBU SFTPMVUJPOT DBO CF BDIJFWFE XJUI UIF OFX , DIJQT BU UIF WBSJPVT BTQFDU SBUJPT VTFE JO DJOFNB QPTJOH UIF QFSUJ OFOU RVFTUJPO A"SF BMM UIF QJYFMT VUJMJTFE 5IFZ QSPWJEFE UIF UBCMF BCPWF XIJDI TIPXT UIBU UIF %-1 $JOFNBÑ , BOE , EFWJDFT TVQQPSU WJS UVBMMZ FWFSZ OFFEFE SFTPMVUJPO JO CPUI 'MBU BOE

XXX DJOFNBUFDIOPMPHZNBHB[JOF DPN t DJOFNB UFDIOPMPHZ t EFDFNCFS

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DJOFNB UFDIOPMPHZ t EFDFNCFS t XXX DJOFNBUFDIOPMPHZNBHB[JOF DPN

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PEOPLE REPRESENTATION

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20

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Get involved 5IJT JTTVF BGGFDUT FWFSZPOF XIP XPSLT JO QSP KFDUJPO BOE #&$56 SFBMMZ EP XBOU UP FOHBHF XJUI BMM TJEFT PG UIF JOEVTUSZ XIFUIFS NFNCFST PS OPU #FJOH BU UIF #&$56 )2 * DPVMEO U BWPJE UIF ATPGU TFMM BMUPHFUIFS PG DPVSTF BOE .JDL TBJE UIBU BT XF MPPL UP UIF GVUVSF OPX XPVME CF B HPPE UJNF GPS OPO NFNCFST UP KPJO #&$56 UP FOTVSF UIBU UIFJS WPJDFT BSF IFBSE BOE IF XBT LFFO UP IJHIMJHIU UIF TQFDJBM PGGFS JO UIF BE CFMPX XIFSF OFX SFDSVJUT DBO KPJO GPS B NVDI SFEVDFE GFF 5IJT PGGFS JTO U KVTU GPS QSPKFDUJPOJTUT CVU BQQMJFT UP BMM UZQFT PG DJOFNB TUBGG #&$56 TVDDFTTGVMMZ SFQSFTFOUT IVOESFET PG PUIFS HSBEFE TUBGG GSPN 'SPOU PG )PVTF UP (FOFSBM .BOBHFST Member or not, you are very welcome to take part in the discussion.

Contact Mick CorямБeld. BECTU, 373-377 Clapham Road, London SW9 9BT Tel: 0207 346 0900 mcorямБeld@bectu.org.uk

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21

EXHIBITION REEL CINEMAS

REEL Cinemas ... a very different approach to cinema +JN 4MBUFS TQPLF XJUI , $ 4VSJ GPVOEFS BOE .BOBHJOH %JSFDUPS 5IF 3FFM $JOFNB OFX CVJME BU $SFXF 5IF QSPKFDUJPO BOE UFDIOJDBM FRVJQNFOU XBT JOTUBMMFE CZ 0NOFY 1SP 'JMN

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Bell Theatre Services THE UK’S LEADING SUPPLIER AND INSTALLER OF DIGITAL AND FILM PROJECTION EQUIPMENT.

DIGITAL

FILM

PROJECTION

PROJECTION

THE UK’S LARGEST STOCKS OF SPARE PARTS, CONSUMABLES AND XENON LAMPS all major manufacturers represented and supported, with same day despatch.

9 B Chester Road, Borehamwood Herts. WD6 1LT T: 020-8238-6000

F: 020-8238-6060

E: sales@bell-theatre.com

W: www.bell-theatre.com

DESIGN • MANUFACTURE • INSTALLATION • MAINTENANCE

Cinema Engineers with over 40 years experience

3D Screens • Masking Motors • Masking Systems Curtains • Curtain Motors • Roller Screens Automation • Lighting • Screen Frames Screen Surfaces • Special Concept Screens LED edge lighting • Special LED lighting effects

www.powellled.com

Tel: 01525 383084 • Fax: 01525 377010 • e: info@powellled.com XXX DJOFNBUFDIOPMPHZNBHB[JOF DPN t DJOFNB UFDIOPMPHZ t EFDFNCFS

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DIGITAL PROJECTION DCNS LAUNCH

AAM Digital Cinema Network Software launch shows the future for DC operations

he Digital Cinema Network Software package (DCNS) from Arts Alliance Media (AAM) is ready for commercial deployment. The software suite, designed to efficiently manage the deployment and operation of digital cinema projection systems, was shown at the FÊdÊration Nationale des CinÊmas Français Congress (FNCF) in Deauville, France, from 28th September to 1st October, 2009.

The software, built by AAM’s in-house development team, has been trialled by major exhibitors around the world.

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From the control and tracking of hardware and software across a circuit, central control of content and playout of each screen, circuit wide management reporting of playout logs and KDM activity, through to fault monitoring and Virtual Print Fee (VPF) calculation and reporting, the AAM DCNS provides everything an exhibitor needs to run a digital circuit, large or small.

The AAM Digital Cinema Network Software is an open, modular system and manufacturer agnostic. The software suite is available to exhibitors as a complete package, or as individual components, all of which are designed to interface seamlessly with other systems in the complex, such as point of sale or advertising delivery software. AAM is focused on delivering the smart connective software that is vital to exhibitors running their digital screens as an efficient and

Jim Slater reports

integrated network. Experience and feedback from the exhibitors who have been trialling the system shows that the software suite now provides the necessary functionality and support to service their circuits. DCNS is designed to make the exhibitors’ life as easy as possible. The software should help any exhibitor to realise the full potential of digital cinema, looking after the end-to-end digital cinema process.

Theatre Management System Uses a Web-based solution that centrally manages content movement, scheduling and playout within a complex. The application is interoperable; works with different servers from multiple suppliers within a complex, and can be accessed anywhere within a cinema site, or remotely. The AAM TMS is an open platform, which allows third parties to easily construct additional services.

Hardware and software asset management Tracks the location of digital cinema projectors and servers, as well as their configuration, software and firmware versions, upgrades and repairs. Much of this information can be gained remotely from an installed digital cinema system (e.g. serial number and software versions), providing real-time synchronisation of the asset database with assets in the cinemas, without the need for manual intervention.

Circuit-wide Management & Reporting A back office package of centralised services operates across an exhibitor’s entire circuit in real-time. It gathers playout logs from every screen in a circuit, as well as archiving and analysing information from a single location. The software enables playlists to be created and distributed direct to digital cinema projection servers and provides full management of Key Delivery Messages. An exhibitor can collate and distribute feature films, advertising and trailers and monitor real-time screen activity, including the current playout status of each screen.

Monitoring Provides a robust monitoring solution, which provides real-time fault and error reporting. This powers the backbone of a digital cinema Network Operations Centre (NOC - photo above), meaning that AAM can detect and often proactively repair any faults without interference in the cinema’s schedule.

VPF reporting The package also includes all the software needed to manage the reporting and reconciliation of VPF data, including playout and booking reporting and tracking services.

More information: Kate Pigeon, AAM kate@artsalliancemedia.com

Key features of the DCNS include:

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TRAINING PROJECTIONISTSтАЩ COURSE

Best practice at the Showroom Jim Slater reports on the latest ProjectionistsтАЩ Training Course The BKSTS Cinema Technology Committee has for many years been organising training courses which have been speciямБcally tailored for projectionists, and this year the BKSTS was fortunate to receive a grant from Skillset to assist us to put on a series of courses relating to тАШBest PracticeтАЩ in the projection room.

In order to help the UK ямБlm business to thrive on the best talent with the highest level of skills, Skillset is implementing and funding a variety of initiatives targeting new entrants and the existing workforce across the industry. The Skillset funding for this course came as part of their Archive training initiative, an area where projectionist training is tremendously relevant, since skilled and careful ямБlm handling can be vitally important to the long term survival of ямБlm prints of all types.

The 6th October 2009 saw the ямБrst in a new series of one day training courses, aimed at people wanting to enhance their expertise as cinema (ямБlm & digital) exhibition projectionists. Thanks to the assistance of long-time BKSTS Member Bill Lawrence, we were lucky enough to be able to make use of the excellent facilities at the Showroom Cinema in ShefямБeld. Bill, who was Head of Film at the National Media Museum in Bradford for many years, became Creative Director of the Showroom in 2008.

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Book now for Projectionists’ Training Courses The next Projectionist Training Courses will take place at the Odeon Cinema, Glasgow Quay on 1st December and at the Cineworld Swindon on 26th January 2010. Book NOW to reserve your place.

The BKSTS CTC projectionists’ training courses are always popular, with their interesting mix of technical and presentation training and the opportunity to meet old friends and exchange experiences with other projectionists. The second of the current series will take place at the Odeon cinema Glasgow Quay on December 1st, and the third will be at Cineworld Swindon on 26th January 2010. Max Bell of Bell Theatre Services has kindly agreed to provide refreshments on arrival and during the coffee break, and there are lots of nearby eating places for delegates to obtain lunch.

PROGRAMME 0930 - Registration and coffee • 1000 - Film handling • 1045 - Projector performance • 1130 - Coffee break • 1145 - Digital Audio - Non film 1230 - LUNCH • 1330 - Xenon Lamps • 1415 - Digital Cinema Overview • 1500 - Open Forum panel session

To book your place at what are sure to be very popular training events email: cinematech@btinternet.com or book directly via www.bksts.com

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EXHIBITION NEW ODEON

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Odeon Wrexham J

oining me on the visit was former projectionist Vincent Dunning. He had worked at the Gaumont and Music Hall, Chester in the 1940s. Over a cup of tea he related some tales from the heyday of cinema.

The cinemas are not at ground level. A lift took us from the large covered car park, which is used by shoppers as well as cinemagoers, to floor one. After passing through the entrance hall, which houses a Costa coffee shop, we go to another level by escalator, where we are greeted by a huge foyer. Here, DVDs as well as the usual chocs and popcorn can be purchased.

There are eight screens with no tabs, but there is masking. House lighting is LED, which can be adjusted. Peter introduced us to his enthusiastic projection team, Ross Lewis, Steven Powell and Phil Barratt. These lads really know their stuff and made Vin and I very welcome.

Peter, who has been in the business for 48 years, starting at the ABC Chester, and whose ‘Profile’ was carried in

the March 2006 issue of CT, said: “Without doubt they are the best technical team I have ever had. They are very capable, not just putting the film on, because that is only a small part of it. If anything goes wrong they are well able to cope.�

The projection room is one long corridor with screens on both sides. Screen four has 35mm and digital. The digital machine is a 4K NEC 1600 and stands next to a Vic 5.

The digital projector is on runners and can be moved sideways to allow access for maintenance.

We were given a demo of digital projection, which was superb. Peter thinks cinemas will completely go digital in around five years. If this comes to pass then it will be the demise of film on the exhibition side after 118 years.

The digital projector, which cost ÂŁ60,000, is like a sophisticated DVD player. You can freeze and move the images forward or back. The information is stored on a hard drive the size of a VHS cassette. This is downloaded on to the

$AVID ! %LLIS REPORTS ON @THE BEST TECHNICAL TEAM EVER

digital machine by a lead that goes in the back. It can take several hours to transfer the information.

The team work split shifts and there is only one technician on at a time. Automation is from Strong, making life easier for the technicians. There is a Vic 8 machine in screen one, five and six, the rest are 5s. Light output varies. The small halls are 2K, the larger ones going up to 3.6K. All the screens have Dolby Digital and there are JBL speakers throughout. There is audio description, sub titling and infrared systems. Music keeps the patrons amused in the foyer and tickets can be purchased from machines.

Each screen is monitored, stamping down on piracy.

There is a large screen in the foyer screening trailers.

A very enjoyable visit. I am sure the Odeon Wrexham will serve cinemagoers for many years to come.

Below Left The very capable Wrexham crew. L-R Ross Lewis, Stephen Powell, Phil Barratt, (Vin Dunning - retired, just visiting!) and Chief Technician Peter Davies.

Centre - Wrexham Chief Peter Davies with the NEC 1600 and Vic 5 serving Screen 4. Right - Digital control - loading the digital movies onto the projector’s server

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David A Ellis

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Important Notice for Dutch Cinema Operators

The

President of the District Court in Amsterdam, The Netherlands, has ruled by verdict of 6 August 2009, that KONINKLIJKE PHILIPS ELECTRONICS N.V. and its entity PHILIPS LIGHTING B.V. (together referred to as: PHILIPS), have placed – according to Dutch Law standards – misleading advertisements regarding the performance of their HELIOSŽ Xenon lamps. In that respect PHILIPS was ordered, amongst others:

1. to immediately cease and desist every disclosure of advertising claims in which the PHILIPS HELIOSÂŽ Xenon lamps are presented as being lamps that produce up to 30% more lumens on screen than standard USHIO UXL lamps.

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XXX DJOFNBUFDIOPMPHZNBHB[JOF DPN t DJOFNB UFDIOPMPHZ t EFDFNCFS

33

PEOPLE THE CTC PAGE

Projection Team of the Year Award At the Annual Projectionists’ Christmas Party on Monday 14th December 2009 the BKSTS awards for the Projection Team of the Year and the Frank Littlejohns Award will be presented.

The Cinema Technology Committee keeps an eye open throughout the year for potential winners of these important awards, and many lively discussions usually ensue before we reach our conclusions. We are always keen to receive nominations from projectionists around the country, and like to have a shortlist, so that we can make decisions for this year and provisional decisions for future years, and yes, you can nominate yourselves if your are bold enough!.

Please remember that we are looking for “The projection team that has made the greatest contribution to the professionalism and maintenance of high technical and presentation standards in the cinema.�

The 2009 award will be presented at the annual Projectionists’ Christmas Party at the Odeon West End, and will be going to Darren Payne and his team at the Odeon / ABC Bournemouth, which Cinema Technology reviewed in the September 2008 issue.

Christmas

QUIZ

This year’s quiz consists of six images of everyday things in the projection room, but taken from an unusual angle.

They may not normally be on view but should none the less be very familiar to the experienced projectionist.

The BKSTS Frank Littlejohns Award was inaugurated in 2003, following an endowment to the Society in the will of the late Frank Littlejohns FBKS, MD of Technicolor and a consultant at Rank Film Labs. The Frank Littlejohns Award “Recognises outstanding work in the Art and Craft of Cinema Projectionâ€?. Any BKSTS Member is welcome to suggest names of those worthy of such an award, and these will be considered carefully by the CTC. Names and justiďŹ cation of the reasons for nomination should be sent to cinematech@bt internet.com or Jim.Slater@Slate rElectronics.com The 2009 Frank Littlejohns award will be presented to Steve Larcombe, long-time Chief of the Odeon West End.

Answers to: cinematech@btinternet.com As last year, Jack Roe are kindly offering a prize of a hamper to the winner of the Christmas quiz, to be presented early in the New Year.

1

2

3

4

5

6

Come to the

Projectionists’ Christmas Party

Seeking your input on Training

T

he BKSTS Cinema Technology Committee would welcome suggestions from readers about the possible themes and content of future courses that it might put on next year. There is an ongoing demand for ‘Best Practice’ in the different areas of cinema technology, and we are keen to extend education and training in the area of Digital Cinema.

The annual Projectionists’ Christmas Party will take place at the Odeon West End, (NOT the usual venue Odeon Leicester Square) on Monday 14th December 2009 from 12 - 4pm.

Invitations will be sent out from the beginning of December. If you don’t receive one but would like to come please contact Dion Hanson by emailing to cinematech@btinternet.com

34

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The large cinema circuits obviously provide detailed training for their staff, but it can still be helpful to come on the BKSTS courses to gain a wider appreciation of what the technologies can do and to see how projectionists in other companies are coping with the ongoing changes in the industry.

If you have any ideas about future training courses, the CTC would be delighted to hear them and to discuss them, as we put together our plans for future training courses.

Please contact Dion Hanson at cinematech@btinternet.com or Jim Slater at jim.slater@slaterelectronics.com

REFERENCE ANNUAL INDEX

CINEMA TECHNOLOGY

EDITORIAL INDEX 2009 INDEX OF AUTHORS ARQIVA New Guide from Arqiva - Live Cinema dec BELL, Billy 1953 – an eventful year jun High Power Lamphouse for BTH Supa sep It’s enough to make a Maltese Cross mar The Festival of Britain 1951 dec BYERS, Andrew Cinema Lighting jun CARTLEDGE, Elliott Meet the Projie: David Johnson of Hoyts, Australia mar EDMONDSON, Graham The Sound of Great Home Cinema mar ELLIS, David A Memories of Brighton Cinemas mar The New Odeon Wrexham dec EMMETT, John The evolution of One Audio Processor – and some thoughts for the future jun GILKS, Andy Getting Light Right sep GINSBURG, Fred A View of the Happe Lecture from the USA mar GUCKIAN, Brian Dublin’s Savoy Cinema mar HANSON, Dion, & SLATER, Jim The CTC Page – Projection Team of the Year 2009 dec HAUERSLEV, Thomas; GUCKIAN, Brian; MARQUES, Ramon Lamarca; O’KANE, Chris; TAYLOR, Mike Waking the Sleeping Giant (Part 1) - 65/70mm capabilities dec HUTCHINS, David Hoyts’ Century of Entertainment Excellence dec ILES, Tony Annual Index dec KNIGHT, Peter J Filmguard – Your Questions answered mar KNIGHT, Peter J, & HILSDON, Stephen Projection with a difference, at the Windsor Arts Centre sep LATTER, David Cinema Seating – history, ergonomics and legislation sep LOBBAN, Grant The Restoration Business – All shapes and sizes jun Restoration - All shapes and sizes, Part 2: Smaller formats for everyone sep MASSON, Alan Film Restoration - The Robe The first ‘Scope Movie Restored mar

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62

NORRIS, David Dolby 3-D at the Empire O’KANE, Chris The Potential of Vistamorph in the Cinema Industry ORF, Elmar Never Ending Film. Kinoton’s ST200 fully automated fim projection RIDDLE, Steve The Ritz at Thirsk ROBINSON, Andrew Screen selection for digital projection SIMPSON, Robert 380 sound channels at the Mann Chinese SLATER, Jim Award Team of the Year: AMC Manchester Projection Team of the Year Bob Dobson retires after 50 years Book Review: Kate Taylor’s Barnsley Cinemas Challenges & Opportunities of 2009 11th Annual Cinema Industry Conference Circlorama: An excellent use of the FP20S technologies Digital Imax - The Odeon Wimbledon….

Games People Play Timeplay at Odeon Covent Garden Ken Draper wins Frank Littlejohns Award 2008 Obituaries - More about Geoff Chandler Obituaries: CP (Charlie) Sandbank Obituaries: Harold Brown Obituaries: Oliver Postgate Technicolor moves into Pinewood A whole new world as Cineworld goes digital and 3D AAM Digital Cinema Network Software - launch shows the future BECTU looking into the future of Projectionists Behind the IBC Big Screen Best Practice at the Showroom Book Review: Coventry Picture Palaces (Gil Robottom) Book Review: The Silver Screen - by Brian Little Building a Barco CineExpo says 4K is the future of cinema - for now at least!

Cinema Technology evolution from 1989 to 2009 Cinemas of North Tyneside - Frank Manders Digital Projection - a visit to Barco’s HQ at Kurne, Belgium DLP Cinema reaches 4K Future proof screening room for Aardman Getting to know - Ray Byers

dec 54 dec 66

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dec dec dec dec

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jun 70 sep 70 sep 26 sep 14 sep 54 dec 70 jun dec sep jun

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VOL 22 2009 Compiled by Tony Iles

Ideal Lights - Casting new light on the cinema industry Independents’ Day 2009, at the Curzon Cinema Meet the Chief - Andy Stafford at AMC Manchester Nationwide success for CEA Digital Roadshow Norman Jones retires after 34 years in Panton Street Obituary: Jean-Paul Cassagnac Real Electronics - Keeping the cinema business on the road REEL Cinemas – A very different approach to cinema IBC 2009 TROMPETELER, Mark Digital Imax – and The Odeon Greenwich Luxury Cinema for Everyman The Screen on the Green reappears as an Everyman Cinema Theatre - Coming to a Cinema near you, soon Widescreen Weekend – Bradford 2009 WATKINSON, John Sound for 3D Cinema WILKINSON, Alan; SHONE, Roger; ELLIS, David Obituary: Barry Flanagan WILSON, Peter 3D movies workshop at Pinewood WOLTHUIS, Johan 70mm Alive and Kicking in Berlin WOOD, Jon Meet the Chief: John Richards at Witney’s Corn Exchange Cinema Smitten with Chipping Norton - Interview with Robin Smitten WRIGHT, Hazel Opera & Ballet at the Cinema - The Bernard Happe Memorial Lecture 2008

sep jun jun sep sep dec

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dec 58 dec 22 dec 39 mar 22 jun 40 sep 40 dec 48 jun 65 jun 26 dec 67 jun 24 dec 60

dec 56 sep 32

mar 44

2009 INDEX OF SUBJECTS ARCHIVES Film Restoration - The Robe - The first ‘Scope Movie Restored Masson, Alan mar 62 The Restoration Business - All shapes and sizes Lobban, Grant jun 46 Restoration - All shapes and sizes, Part 2: Smaller formats for everyone Lobban, Grant sep 62 ASSET MANAGEMENT AAM Digital Cinema Network Software - launch shows the future Slater, Jim dec 27 BKSTS EVENTS A View of the Happe Lecture from the USA Ginsburg, Fred mar 49 Opera & Ballet at the Cinema - The Bernard Happe Memorial Lecture 2008 Wright, Hazel mar 44 ... continued on page 38

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37

Editorial Index - continued from page 35 BOOK REVIEWS Book Review: Coventry Picture Palaces (Gil Robottom) Slater, Jim Book Review: Kate Taylor’s Barnsley Cinemas Slater , Jim Book Review: The Silver Screen - by Brian Little Slater, Jim Cinemas of North Tyneside - Frank Manders Slater, Jim CINEMAS 1953 – an eventful year Bell, Billy 380 sound channels at the Mann Chinese Simpson, Robert 3D movies workshop at Pinewood Wilson, Peter A whole new world as Cineworld goes digital and 3D Slater, Jim AAM ‘s feature-length documentary achieves record 1-day admissions using digital BECTU looking into the future of Projectionists Slater, Jim Behind the IBC Big Screen Slater, Jim Building a Barco Slater, Jim Challenges & Opportunities of 2009 - 11th Annual Cinema Industry Conference Slater, Jim CineExpo says 4K is the future of cinema - for now at least! Slater, Jim Cinema Lighting Byers, Andrew Cinema Seating - history, ergonomics and legislation Latter, David Cinema Technology evolution from 1989 to 2009 Slater, Jim Circlorama: An excellent use of the FP20S technologies Slater , Jim Digital Imax - and The Odeon Greenwich Trompeteler, Mark Digital Imax - The Odeon Wimbledon Slater , Jim DLP Cinema reaches 4K Slater, Jim Dublin’s Savoy Cinema Guckian, Brian Games People Play - Timeplay at Odeon Covent Garden Slater, Jim Getting Light Right Gilks, Andy Hoyts’ Century of Entertainment Excellence Hutchins, David IBC 2009 Slater, Jim Ideal Lights - Casting new light on the cinema industry Slater, Jim Independent’s Day 2009, at the Curzon Cinema Slater, Jim Luxury Cinema for Everyman Trompeteler, Mark Meet the Chief – Andy Stafford at AMC Manchester Slater, Jim Meet the Chief: John Richards at Witney’s Corn Exchange Cinema Wood, Jon Memories of Brighton Cinemas Ellis, David A Nationwide success for CEA Digital Roadshow Slater, Jim Projection with a difference, at the Windsor Arts Centre Knight, Peter J, & Hilsdon, Stephen Real Electronics - Keeping the cinema business on the road Slater, Jim REEL Cinemas - A very different approach to cinema Slater, Jim Screen selection for digital projection Robinson, Andrew Sound for 3D Cinema Watkinson, John The evolution of One Audio Processor - and some thoughts for the future Emmett, John The New Odeon Wrexham Ellis, David A The Restoration Business - All shapes and sizes Lobban, Grant The Ritz at Thirsk Riddle, Steve The Screen on the Green reappears as an Everyman Cinema Trompeteler, Mark DIGITAL A whole new world as Cineworld goes digital and 3D Slater, Jim AAM ‘s feature-length documentary achieves record 1-day admissions using digital

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jun 70 mar 35 sep 70 dec 70 jun 55 jun 64 jun 24 jun 34 jun 22 dec 20 dec 41 sep 26 mar 38 sep 14 jun 32 sep 50 sep 54 mar 57 mar mar dec mar

22 17 14 51

mar 14 sep 46 dec 44 dec 39 sep 56 jun 52 jun 40 jun 56 dec 56 mar 56 sep 18 sep 44 dec 58 dec 22 jun 61 jun 26 jun 18 dec 32 jun 46 mar 43 sep 40

jun 34 jun 22

BECTU looking into the future of Projectionists Slater, Jim dec sep Building a Barco Slater, Jim CineExpo says 4K is the future of cinema - for now sep at least! Slater, Jim Digital Imax - and The Odeon Greenwich mar Trompeteler, Mark Digital Imax - The Odeon Wimbledon Slater , Jim mar Digital Projection - a visit to Barco’s HQ at jun Kurne, Belgium Slater, Jim dec DLP Cinema reaches 4K Slater, Jim Nationwide success for CEA Digital Roadshow sep Slater, Jim dec New Guide from Arqiva - Live Cinema Arqiva Screen selection for digital projection jun Robinson, Andrew Theatre - Coming to a Cinema near you, soon dec Trompeteler, Mark HISTORY Restoration - All shapes and sizes, Part 2: Smaller sep formats for everyone Lobban, Grant dec The Festival of Britain 1951 Bell, Billy HOME CINEMA The Sound of Great Home Cinema mar Edmondson, Graham INDEX Annual Index Iles, Tony dec LARGE FORMAT 70mm Alive and Kicking in Berlin Wolthuis, Johan dec Digital Imax - and The Odeon Greenwich mar Trompeteler, Mark Digital Imax - The Odeon Wimbledon Slater , Jim mar Hoyts’ Century of Entertainment Excellence dec Hutchins, David dec New Guide from Arqiva - Live Cinema Arqiva dec The Festival of Britain 1951 Bell, Billy The Potential of Vistamorph in the Cinema Industry dec O’Kane, Chris Theatre - Coming to a Cinema near you, soon dec Trompeteler, Mark Waking the Sleeping Giant (Part 1) – 65/70mm capabilities Hauerslev, Thomas; Guckian, Brian; Marques, Ramon Lamarca; O’Kane, Chris; Taylor, Mike dec Widescreen Weekend - Bradford 2009 jun Trompeteler, Mark dec Behind the IBC Big Screen Slater, Jim Circlorama: An excellent use of the FP20S mar technologies Slater, Jim OBITUARIES More about Geoff Chandler Slater, Jim mar mar Obituaries: CP (Charlie) Sandbank Slater, Jim mar Obituaries: Harold Brown Slater, Jim mar Obituaries: Oliver Postgate Slater, Jim Obituary: Barry Flanagan Wilkinson, Alan; Shone, Roger; Ellis, David dec Obituary: Jean-Paul Cassagnac Slater, Jim dec OTHER ORGANISATIONS BECTU looking into the future of Projectionists dec Slater, Jim dec Behind the IBC Big Screen Slater, Jim sep Building a Barco Slater, Jim Challenges & Opportunities of 2009 – 11th Annual mar Cinema Industry Conference Slater, Jim CineExpo says 4K is the future of cinema - for now at least! Slater, Jim sep dec IBC 2009 Slater, Jim Nationwide success for CEA Digital Roadshow Slater, Jim sep Widescreen Weekend - Bradford 2009 jun Trompeteler, Mark PEOPLE BECTU looking into the future of Projectionists dec Slater, Jim mar Bob Dobson retires after 50 years Slater, Jim jun Getting to know - Ray Byers Slater, Jim Ken Draper wins Frank Littlejohns Award 2008 mar Slater, Jim

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Meet the Chief - Andy Stafford at AMC Manchester Slater, Jim jun Meet the Chief: John Richards at Witney’s dec Corn Exchange Cinema Wood, Jon Meet the Projie: David Johnson of Hoyts, Australia mar Cartledge, Elliott Norman Jones retires after 34 years in Panton Street sep Slater, Jim Smitten with Chipping Norton - Interview with sep Robin Smitten Wood, Jon The CTC Page – Projection Team of the Year 2009 dec Hanson, Dion, & Slater, Jim PROJECTION Award Team of the Year: AMC Manchester mar - Projection Team of the Year Slater, Jim dec Best Practice at the Showroom Slater, Jim mar Bob Dobson retires after 50 years Slater, Jim sep Building a Barco Slater, Jim CineExpo says 4K is the future of cinema sep - for now at least! Slater, Jim Digital Projection - a visit to Barco’s HQ at jun Kurne, Belgium Slater, Jim dec DLP Cinema reaches 4K Slater, Jim Filmguard - Your Questions answered mar Knight, Peter J Future proof screening room for Aardman sep Slater, Jim sep High Power Lamphouse for BTH Supa Bell, Billy It’s enough to make a Maltese Cross Bell, Billy mar Ken Draper wins Frank Littlejohns Award 2008 mar Slater, Jim Meet the Chief - Andy Stafford at AMC Manchester jun Slater, Jim Meet the Projie: David Johnson of Hoyts, Australia Cartledge, Elliott mar Nationwide success for CEA Digital Roadshow sep Slater, Jim Never Ending Film. Kinoton’s ST200 fully mar automated fim projection Orf, Elmar Norman Jones retires after 34 years in Panton Street Slater, Jim sep Projection with a difference, at the Windsor sep Arts Centre Knight, Peter J, & Hilsdon, Stephen Screen selection for digital projection jun Robinson, Andrew Smitten with Chipping Norton - Interview sep with Robin Smitten Wood, Jon The CTC Page – Projection Team of the Year 2009 dec Hanson, Dion, & Slater, Jim SOUND 380 sound channels at the Mann Chinese jun Simpson, Robert Sound for 3D Cinema Watkinson, John jun The evolution of One Audio Processor - and some jun thoughts for the future Emmett, John The Sound of Great Home Cinema mar Edmondson, Graham STANDARDS The Restoration Business - All shapes and sizes jun Lobban, Grant STEREO 3D movies workshop at Pinewood Wilson, Peter jun A whole new world as Cineworld goes digital and 3D jun Slater, Jim dec Dolby 3-D at the Empire Norris, David Sound for 3D Cinema jun Watkinson, John The Festival of Britain 1951 Bell, Billy dec STUDIOS Technicolor moves into Pinewood Slater, Jim mar TECHNOLOGY Building a Barco Slater, Jim sep Ideal Lights - Casting new light on the cinema industry Slater, Jim sep TRAINING Best Practice at the Showroom Slater, Jim dec

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EVENTS IBC 2009

3D

the big cinema story at IBC

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EVENTS PROJECTION AT IBC

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41

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EXHIBITION HOYTS 100 YEARS

Cinema Technology Group leverages Hoyts century of entertainment excellence For more than 100 years Hoyts has been one of Australia’s leading entertainment enterprises.

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SPECIAL INTEREST DIARY

The Festival of Britain 1951 U T B XFMM LOPXO GBDU UIBU UIF /BUJPOBM 'JMN 5IFBUSF PO UIF 4PVUI #BOL PG UIF 5IBNFT XBT CPSO PVU PG UIF 5FMF LJOFNB B TUBUF PG UIF BSU NPWJF UIFBUSF SVO CZ UIF #SJUJTI 'JMN *OTUJUVUF XIPTF DPOUSJCVUJPO EVS JOH UIF 'FTUJWBM PG #SJUBJO JO GPSNFE B DPOTUJUVFOU QBSU PG UIJT IVHF NVMUJ BSUT 'FTUJWBM JOUFOEFE UP EJTQMBZ #SJUJTI JOWFOUJWFOFTT JO UIF "SUT 4DJFODFT BOE *OEVTUSZ

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ALTERNATIVE CONTENT LIVE CINEMA

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Phèdre - broadcast facts and statistics On 25 June 2009, and throughout the month of July, Phèdre was broadcast live to approximately 280 venues around the world. • Phèdre played to 73 screens throughout the UK on Thursday 25 June 2009. • Phèdre also played to 18 countries throughout the rest of the world and 210 sites. • 14,000 people saw it across the UK. • 88% overall capacity in the UK, with over half the cinemas sold out. • To date, an additional 35,000 have attended throughout the rest of the world. • In the UK, Phèdre visited: 11 venues in the Southeast; 6 in the East; 9 in the Southwest; 3 in the East Midlands;3 in the West Midlands; 3 in Yorkshire; 2 in Cumbria; 1 in the Northeast; 5 in the Northwest; 6 in Scotland; 6 in Wales; 2 in the Channel Islands; 12 in London. • Internationally, Phèdre visited: Australia; New Zealand; South Africa; US; Canada; Mexico; Belgium; Czech Republic; Denmark; Estonia; Finland; Iceland; Ireland; Luxembourg; Malta; Netherlands; Norway; Sweden.

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ALTERNATIVE CONTENT LIVE CINEMA

New guide from Arqiva

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53

TECHNOLOGY DOLBY 3D

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54

5PQ UIF % BVEJFODF #FMPX MFGU /P SPPN '1 /FD #BSDPT BOE UIF $ISJTUJF XIJDI IBT OPX CFFO SFQMBDFE BMM USZJOH UP HFU B QPSUIPMF JO UIF &NQJSF QSPKFDUJPO CPPUI EVSJOH UIF JOTUBMMBUJPO #FMPX SJHIU 5FNQPSBSZ %PMCZ TFSWFST GPS UIF POF PGG +POBT #SPT QSFNJFSF "MM QIPUPT DPVSUFTZ +VMJF &EXBSET 1IPUPHSBQIZ

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READY NOW!

£15.00 Including UK postage

PROJECTIONISTS’ HANDBOOK The long awaited PROJECTIONISTS’ HANDBOOK is now available.

This publication is a must for anyone joining the profession and embarking on a training programme, it is also a great aid to trainers of in-house staff. The book is an edited version of the larger BKSTS Projectionists’ Manual and contains the relevant sections for film presentation in a handy A5 format.

It is also designed to complement the recently introduced Certificate of Competence for projectionists.

TO ORDER YOUR COPY / FOR MORE INFORMATION ...

Please e-mail DION HANSON cinematech@btinternet.com FOR MORE INFORMATION ABOUT THE CERTIFICATION SCHEME ...

Please e-mail ALAN McCANN at aemac@talktalk.net

%BWF /PSSJT XXX DJOFNBUFDIOPMPHZNBHB[JOF DPN t DJOFNB UFDIOPMPHZ t EFDFNCFS

55

PEOPLE MEET THE CHIEF

Meet

The Chief ...the Cashier, the Manager and the Glass Washer!

John Richards from Witney’s Corn Exchange cinema is certainly the most enthusiastic ‘one-man band’ that CT has ever come across!

Jon Wood reports

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56

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... you combine electricity, metal, add some acetate and sellotape, and you can produce any emotion known to man ...

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57

TECHNOLOGY REAL ELECTRONICS

Real Electronics ... keeping the cinema business on the road

Jim Slater visits the ShefямБeld based repair and maintenance specialists.

The UK Film Industry is a substantial one, with the UK Film Council telling us that the total turnover last year was ┬г6.1 Billion, and that its contribution to the UK Gross Domestic Product was ┬г2.5 billion.

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EVENTS 70MM FESTIVAL

70mm Alive and Kicking in Berlin!

Or how to improve your cinema presentation! +PIBO 8PMUIVJT SFQPSUT PO B NN GFTUJWBM BOE BQQFBMT UP $JOFNB NBOBHFST BOE TUBí UP JNQSPWF UIFJS QSFTFOUBUJPO BOE NBLF B WJTJU UP UIF DJOFNB B TQFDJBM FWFOU KVTU BT JU XBT MPOH BHP IF UI #FSMJOBMF 'JMNGFTUJWBM POF PG UIF NPTU JNQPSUBOU GFTUJWBMT JO UIF XPSME JO SFMBUJPO UP JUT MBSHF mMN EJTUSJCVUJPO NBSLFU UPPL QMBDF JO 'FCSVBSZ BOE XBT QBSUMZ EFWPUFE UP UIF QIFOPNFOPO PG UIF NN mMN "MUIPVHI UIJT XBT B POMZ TNBMM QBSU PG UIF GFTUJWBM EVSJOH UFO EBZT B UPUBM PG mMNT XFSF TDSFFOFE JO B TP DBMMFE NN 3FUSPTQFDUJWF

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Johan WolthuisтАЩ new book about 70 mm ямБlm and presentation will be published at the end of 2009 ...

It will outline the long, rich and complicated history of 70mm movies and ask whether there is any future for original 65mm ямБlming and 70mm presentation, perhaps in combination with digital projection?

The book will feature different articles about the 65/70mm technology written by well-known people in the cinema industry, as well as sections on the history of 70mm and 70mm projectors. The words will be illustrated with many pictures of 70mm ads in colour and in black and white, and as a great extra value, the book will contain a colour poster with pictures of original 70mm ямБlms!

The price of the book will be around 20 Euros/ 20 British Pounds/ 25 US Dollars.

For more information simply email or write to the address below, and you will be sent details of how to get it and when.

International 70mm Publishers, Katwoudehof 36, 6843 BX Arnhem, The Netherlands e-mail: johanwolthuis@yahoo.co.uk

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61

LARGE FORMAT 65/70mm

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62

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he history of technological progress in the entertainment industry is not rigidly linear but moderated to some extent by personal preference. A well-known example is the market for vinyl records. Despite the overwhelming dominance of the compact disc format, and latterly, internet downloads, the market for 7-inch vinyl records accounted for two-thirds of UK singles in 2007, with sales up five-fold in the 5 years preceding[1].

What accounts for this survival of an analogue format that should be obsolete? Vinyl fans cite the warmer, more nuanced sound quality over CDs and MP3 files[2] and appreciate the tangible nature of the medium.

Similarly, analogue motion picture film has unique properties that appeal to the viewer in ways which are difficult for digital technology to emulate.

For example, in the Bernard HappĂŠ Memorial Lecture of 2004, The Film Look: Can it Really be Defined?, Peter Swinson FBKS portrayed, with regard to film projection, the relaxing effects of slight motion and interruption of the image on the subconscious of the viewer, allowing them to more readily “believeâ€? what was being presented on screen. He also described key attributes of the random grain structure in the film image that lead to film’s wide latitude, dynamic range and ability to represent very fine tonal gradations. The important phenomenon of Stochastic Resonance – the presence of random noise in an image allowing the brain to resolve more subtle detail and more sharpness – was further explained[3].

These fundamental and positive attributes of motion picture film, and its unique exhibition

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process (mechanical transport with interruptive shutter), mean that it is incorrect to claim direct equivalence by digital video emulation, no matter how sophisticated such processes might be. The projected “film look�, different to that of digital video, also enhances the difference between home entertainment and theatrical exhibition.

If there is still a place for film in today’s cinema environment, then what shape could it take? A common mistake made by sceptical observers is to assume that advocates of film acquisition and projection wish to “roll back progress� and to return to a hypothetical “all-film� world. This fails to acknowledge the complexity and diversity of the tools available for production. A useful analogy is found in the art world, where modern acrylic paints, for example, have not superceded oils or watercolours, but have merely added to an expanding palette of options available to the artist.

Likewise in music, the development of electronic instruments of increasing sophistication over the years has not in any way led to the diminution or extinction of their traditional counterparts.

Combining High Resolution and the Film Texture: 65mm Production The traditional 65mm format provides a compelling trajectory for developments in the mature film technology area, especially as theatrical audiences become more demanding of technical quality, and as HDTV and Blu-Ray penetrate the home viewing environment.

Cost is regularly cited as a perceived barrier to a revival of the traditional 5-perf 65mm format for big-budget productions. However early research by the 65/70mm Workshop discounted this.

For example, a 1992 Variety article on Far and Away (filmed in Panavision Super 70)[4] quoted its producer Brian Grazer as stating that the additional cost of shooting the film on 65mm was relatively small at $ 700,000. With a quoted budget of $ 45 million[5], this figure represented just 1.6% of the total cost.

Super-35mm 1:2.39 Area* 24.92 x 10.43mm 259.92mm²

65mm 1:2.39 Area 52.48 x 21.96mm 1152.46mm²

The later 1996 release of Kenneth Branagh’s version of Hamlet, also shot on 65mm, was supported by a promotional brochure published

by Kodak Professional Motion Imaging. In the brochure, former Managing Director of Technicolor (UK) Ltd. Bob Crowdey stated: ’As film budgets get bigger, the small increase to the overall cost of production using the larger format becomes a smaller percentage...In marketing terms, the added value of the superior picture quality easily outweighs the small cost increase[6].’ Confidential figures for 65mm negative processing, telecine and 70mm printing obtained by the Workshop from a leading laboratory in 2007 corroborated these earlier views. Using the more current figures, the additional cost of shooting on 65mm over regular 35mm for big-budget films was estimated at between 3% and 5% of the total budget, including the cost of additional camera and lighting equipment. This did not include CGI; however the cost of highresolution effects work is falling, and there is an argument to be made about re-visiting the crafts of traditional physical model-making and matte painting[7].

Indeed the development of lightweight camera designs since the early 1990s such as the Arri 765, the Panavision System 65 and most recently the 3D Consortium / MKBK 65mm camera[8] has greatly helped overcome popular misconceptions about 65mm equipment related to perceived bulk and weight.

Perceptions of high cost are further countered by the recent use of the 15/70 IMAX format in The Dark Knight (2008) and in Transformers: Revenge of the Fallen (2009). This innovation is notable not just in itself, but also because the 15/70 format uses three times as much film stock as traditional 5-perf 65mm.

IMAX 1:2.39 Area 69.6 x 29.12 mm 2026.75mm²

Fig. 1

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format (with a relatively low magnification factor and theoretically higher quality compared to the current 35mm-based IMAX digital re-mastering [DMR] process), along with the added advantage of being able to make limited quantities of traditional “Roadshow� 5/70 prints (Fig. 2).

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Hamlet, being the last commercial release in 65/70 mm, also showed how impressive and beautiful film shot in 65mm and presented in 70mm can look, with both high resolution and a pleasing naturalness that has characterised cinema for more than a century, very different from the digital video look. Due to its larger frame size and versatility, 65mm origination further provides highly persuasive advantages in the emerging HD production and display context. Key to this is its multi-platform release capability that maintains very high quality across a large range of theatrical and home cinema release options.

Fig. 1 and the accompanying magnification chart show how shooting on 65mm permits straightforward release on the 15/70 IMAX

* Areas are nominal extracted areas for comparison only and are not intended to conform to published standards

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Across this wide spectrum of release options, with its ability to offer and maintain very high image quality, plus its important archivability and film-based advantages, 65mm film is a realistic option for visionary filmmakers (Fig 2). In addition, the format is “tried and tested� with extant infrastructure and work practices.

Non-anamorphic 65mm also offers filmmakers who do not like to work with anamorphic photography the opportunity to have a wide image without having to sacrifice film resolution, as with the current Super-35 format. “Niche� Distribution On the exhibition front, industry commentators often wrongly dismiss any possibility of a return to the use of the 5-perf 70mm format by incorrectly assuming that the only distribution model possible is the former large-scale release practice dating from the 1950s onwards. Striking several hundred prints is seen to be uneconomic and such critics further point to the smaller remaining installed base of 70mm projectors worldwide.

Fig. 2

Whilst this is true, it fails to consider other distribution methods that might be practical, involve far less cost and which would tailor XXX DJOFNBUFDIOPMPHZNBHB[JOF DPN t DJOFNB UFDIOPMPHZ t EFDFNCFS

63

70mm production need not be difficult, and Arri claim that their lightweight Arriflex 765 65mm camera (inset) is as easy to use as 35mm kit, and that camera crews have no trouble in switching from one to another. The photo shows the Arriflex 765 on location for the ARRI demo film ‘As Good As It Gets’, photographed by Bill Bennett ASC. Photos courtesy ARRI Media GmbH.

release to the smaller installed base of 70mmequipped theatres. In 2008 the Workshop developed a ÂťnicheÂŤ distribution model that fits in well with a more informed understanding of film exhibition as being diverse and able to accommodate a range of viewing formats simultaneously.

As mentioned, a 65mm-originated production can yield limited quantities of 70mm prints. In the contemporary context, the perceived need for “hundreds� of such prints is avoided by re-positioning the 5/70 format as a specialist “showcase� platform for the title in question.

In this scenario, only small numbers of prints would need to be struck for a territory, initially for pre-release screenings, using a “Mini-Roadshow� concept previously trialled successfully with conventional 35mm releases in locations such as New York[9]. The Mini-Roadshow concept acts to build excitement and generate word-of-mouth, whilst also permitting higher ticket prices. Typically, the Mini-Roadshow “pre-release� may occur three weeks prior to the normal wide “day-and-date� release.

Pre-release screenings on their own are unlikely to justify the striking of 70mm prints, even today with DTS sound eliminating the need for magnetic striping. Accordingly, most prints could be crossed over to a new set of locations at the time of the day-and-date release, then crossed over to a

Premier standards of showmanship at the Imperial Bio, Copenhagen, Denmark, with impressive lighting, tab presentation, and auditorium design. Copyright Thomas Hauerslev www.in70mm.com

64

Dual-gauge 35/70mm projectors are still available.

Left: Kinoton MP75E Reference. Courtesy Kinoton GmbH. Centre: Century JJ. Courtesy Ballantyne of Omaha, Inc. Right: Cinemeccanica Victoria 8. Courtesy Sound Associates Ltd.

subsequent set of venues later, thus maximising the revenue-earning life of the prints. Prints could see further life at 70mm festivals and other special shows, “asset sweating� the investment by the studio / distributor. Additionally, the DTS format readily permits the production of audio tracks for different markets without entailing striking more prints, as well as facilitating electronic projection of subtitles where desired.

Designing a limited distribution model for small numbers of 70mm prints made from 65mm-originated material must take account of the fact that studios / distributors are highly unlikely to accede to any additional expenditure on prints, even if such expenditure would be relatively low in the context of typical overall P&A (Prints and Advertising) spend on a major title[10]. However one way of addressing this is to examine where savings could be made in other areas that could offset the small additional cost of striking 70mm prints.

Limited 5/70 exhibition is in fact an advantage as it suits the higher quality control, film handling and projection standards both the format and audiences demand. Venues could be accredited, and would not be eligible to receive prints unless they fulfilled a set of accreditation criteria. Comprehensive training could be arranged at cost and allied to the accreditation process.

The IMAX release of The Dark Knight on 15/70mm showed that audiences appreciate the quality a larger negative with larger prints produces. Neither the film trailers nor the film ads had any mention of the impressive IMAX scenes, yet audiences flocked to the IMAX screenings, even travelling long distances to do so. In particular, more mature audiences who are tired of the multiplex experience could return to the cinema if – again – it had a truly theatrical feel.

Compound Curved Screens As part of its work, the Workshop has put forward improvements to the viewing experience, particularly in the context of the larger image sizes possible with 70mm and with the goal of achieving greater immersion. As in the past, replicating a sense of peripheral vision was a key objective.

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A common technique for curved screens is to use either a chord depth of 5% of the screen width, or to curve to the throw, or to curve via ray tracing according to the requirements of gain screens. Whilst all these methods enhance screen luminance (a common reason for their use today) and provide an aesthetically pleasing curve, they do not offer the immersiveness of former curved screen processes such as those employed by Cinerama, Todd-AO and Dimension 150.

With the increasing need to differentiate the cinema experience from the home viewing environment and also to encourage the return - at least on a modest basis - of the “Roadshow� large screen presentation, and further, given the increasing flexibility and attractiveness of shooting on 65mm, the question was asked if former curved screen processes could be revived and adapted for the modern cinema environment. In order to do this, the properties of the two most common immersive “single hole� large screen processes - Todd-AO and Dimension 150 - were studied. Importantly, though effective, both these processes used constant circular curves. This is advantageous for the widest projected aspect ratio, i.e. 2.21:1 or 2.76: 1, but narrower ratios are disadvantaged by the same constant curved field.

The answer was to “flatten� the central portion of the screen using another, gentler curve. In researching this work, drafting methods showed that a curve of chord depth of 5% of the screen width, combined with the most immersive non-Cinerama curve (120 degrees) to create a compound curve, provided useful results (Fig. 3).

Interestingly, use of compound curves was recommended by Philips in the 1960s[11]. In this case they recommended a parabolic curve for multi-format 35mm / 70mm screenings. However it must be noted that the parabola, being an inclined section through a cone, achieves its greatest curvature at its apex. This again goes against the desire for a flatter field for narrower aspect ratios in the central portion of the screen, so that a compound curve of increasing radius towards the edges rather than the centre appeared to be a

Fig. 3

Fig.3 Compound curved screen design developed by the 65/70mm Workshop accommodates ultra-wide aspect ratios such as 3:1 Vistamorph and 2.76:1 Ultra Panavision, as well as standard 70mm, 35mm and digital formats The (non-Cinerama) deep-curve screen experience (right pic): Dimension 150 installation with 30 ft screen radius at the former UA 150 cinema, Lefrak City, New York, 1965. UK BKSTS members will recall the much-missed D-150 installation at the Odeon Marble Arch, London. Photo courtesy Mike Taylor, PPT Northwest Region collection. Originally reproduced in Ideal Kinema / Kinematograph Weekly.

better choice of geometric form.

The transition point between the two curves was chosen via drafting as the on-screen boundary of the Academy Sound (1:1.37) ratio. There could be a more scientific way of choosing the transition point, but it could also be argued that there is an element of aesthetic choice involved. A fixed transition point was deemed to be necessary if the screen design were to be popularised.

Some former curved-screen projection processes required lenses tailored for each venue. However in today’s cost-conscious era, such practices are unattractive. A compound curved screen design overcomes the problem by limiting the required correction only to the widest ratios (i.e. 35mm ‘Scope, and 70mm), and furthermore, involving only a standard correction method by tying the screen curvature transition to an unchanging point proportional to the screen width. Also, since the curves can be mathematically derived from the screen width, screen size is not a limiting factor.

Lenses for the wider ratios could be provided with greater depth of focus to accommodate the deeper curvature towards the screen edges. In 2008 lens manufacturer Isco-Optic GmbH confirmed[12] that the design would work with lenses of 55mm focal length and upwards, and apertures f2.2 and f2.4.

A compound curved screen design also greatly minimises cross-reflection as the central portion is flatter and the deeper curved sections are well separated. Screen manufacturer Da-Lite Inc. further recently confirmed[13] that no cross-reflection would occur with this design provided a matt white surface was used.

In order to reduce peripheral perceived image distortion on the part of the viewer, seating layouts used with the design would be curved or angled, which in any case is in line with best practice in cinema design.

Conveniently, the design would also make it easier to accommodate wider aspect ratios than today’s, such as 3:1 VistamorphŽ. This is because a curved screen design inherently has a shorter linear width for a given ratio than a flat screen does.

By extension, this means wider ratios can be accommodated without the need to greatly expand laterally, and thus makes it easier to incorporate such ratios into current cinema auditorium designs that favour “wall-to-wall� flat screens.

An important factor in achieving adoption is the standardisation of screen curvature and lens correction. This would keep costs down, and importantly, the multi-format nature of the design and its immersive selling point would be equally attractive for both digital and conventional film screenings.

Furthermore, digital 3D systems which do not require polarised screens, such as that from Dolby, could be accommodated by the system.

On the production side, use of short focal length lenses more closely matching the viewing angle of the eye, would further enhance a sense of peripheral vision. This of course was a key feature of historical widescreen processes.

Part 2 of Waking the Sleeping Giant, in the next issue of Cinema Technology, will examine sound for 70mm and stress the vital importance of appropriate marketing techniques.

Notes to part 1: 1. Back in the groove: young music fans ditch downloads and spark vinyl revival, Katie Allen, The Guardian, 16 July 2007.

2. Vinyl Gets Its Groove Back, Kristina Dell, Time, 10 January 2008.

3. Swinson, Peter, The Film Look: Can it Really be Defined?, Image Technology January / February 2005 pp 17-23, and April 2005 pp 9-12.

4. The Future of 65m production is fuzzy, Richard Natale, Variety, 18 May 1992.

5. ‘Far and Away’ Test Case for 65mm Film, Screen Digest, June 1992.

6. Kenneth Branagh’s Hamlet on 65mm, Kodak Professional Motion Imaging 7. Filmgoers are sometimes critical of CGI for its lack of realism, whilst there exists a corresponding nostalgia for traditional model-making and make-up techniques. This was drawn upon in the recent science-fiction feature film Moon (UK, 2009) which made a point of its use of traditional model-making and matte paintings.

8. A New 65mm Camera, Jonathan Kitzen, www.in70mm.com, http://www.in70mm.com/news/ 2009/mkbk_65mm_camera/index.htm 9. Is There Any Showmanship Left?, www.filmtech.com, Film Handler’s Forum, 24 July 2008, p.3 10. Based on average UK P&A costs of £ 1.8 million quoted in Allison, Deborah, Multiplex programming in the UK: the economics of homogeneity, Screen 2006, Oxford University Press, pp 81-90 11. Planning a Cinema, Philips (Undated, 1960s) 12.,13. Information courtesy Eric Bastin FBKS, AVCOM Ltd., London.

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65

LARGE FORMAT VISTAMORPHÂŽ

The potential of VistamorphŽ in the Cinema Industry by Chris O’Kane existing Technirama printing equipment.

T

he picture above and that above the headline for the preceding 65/70mm Workshop article illustrate the potential of a different widescreen format called Vistamorph, which was first brought to the attention of BKSTS readers as far back as June 2000.

The test film was run on a DKP75 Kinoton projector with a 3K lamp and shown on a 56ft Todd AO screen where the aspect ratio exceeded the width of the screen at 3:1. The film was also test run on the Pictureville Cinerama screen in Bradford and on the 96ft Cinerama screen at the Martin Cinerama Theatre in Seattle, where the aspect ratio of the screen was exceeded also. This was done using a medium focal length backing lens attached to an industry standard x2 anamorphic with a 7K lamp as a light source.

There exists today a substantial market for large format cinema. These cinemas sell the thrill and experience of a big show where films entertain and educate the audience for 40 minutes with short films and over 2 hours with commercial feature films. The large format ImaxÂŽ system has its films originated on 15-perf 70mm horizontal film. These films are printed at great cost and synced up with a powerful surround sound system.

The concept is to convey a sense of realism to the audience, as if they are physically involved in the film through the use of scale and power.

This idea stems from Cinerama, a system launched on the cinema industry in 1952, where the panoramic film was shown on a curved screen 90ft wide and 30ft high. Accompanied with 7-channel stereo sound, Cinerama made such an impact in the industry that all wide screen film systems were developed as a consequence of the very great public response to the Cinerama experience. Even wide screen TV is now the standard in homes.

The Vistamorph film system was developed by Vistatech Ltd. as a response to the rising costs of large format film production and presentation in the late 1990s. It was envisaged that it could fill the role that Cinerama once had in commercial cinema and offer a much lower cost alternative to 15/70 formats as a medium. Vistamorph is a process that can produce spectacular wide screen films and emulates Cinerama in scale. One of the many benefits of Vistamorph is that it utilises existing motion picture technology to produce films at a reasonable cost in comparison to 15/70 films. Vistamorph has a presentation ratio of 3: 1 or greater and is originated on 35mm motion picture negative stock. It incorporates a x2 anamorphic optical compression along the horizontal axis of the film stock and is shot in a VistaVision format camera. A range of prime lenses can be coupled to the Vistamorph

66

The development of better lenses and cameras would further improve the quality of the Vistamorph process and make it a viable system to produce super-widescreen motion pictures. The costs to do this need not be excessive as some existing equipment could be adapted for the purpose.

Top: VistamorphŽ camera under development - below Prototype model of a VistamorphŽ lens. Pictures Š Chris O’Kane

anamorphic attachment lens for originating wide and medium fields of view.

In March 2000 a short test film was shot using a Technicolor model camera from Panavision and a Nikon prime lens coupled with a x2 anamorphic attachment.

The film was shot in good daylight on Eastman Kodak EXR 50D 35mm stock. The film A Trip to Dunoon was shot on the west coast of Scotland in early spring and consists of several shots of moving boats, vehicles and people in a rural landscape. The film also includes moving camera shots. This was done to test for strobing problems in theatre viewing. These proved to be minimal and non intrusive for the audience. The negative was processed by Technicolor in England and was telecined by The Mill in London. The negative was cut by Trucut of London and a 70mm Vistamorph projection print was produced by Technicolor using

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The VistaVision negative format lends itself to fitting in with existing printing techniques. Fotokem and Gulliver labs can produce either a 70mm or 35mm anamorphic print from the Vistamorph negative and DTS can produce a surround sound track for the film. A multiplex cinema could knock two large halls into a large one and build within it a Vistamorph auditorium that would allow the screening of, not only Vistamorph 70mm format films, but also all existing 70mm, 35mm and future digital formats too.

Vistamorph requires at this stage a three-phase development.

Phase 1: Production and testing of a full-scale prototype system and test film.

Phase 2: Production of new equipment for filmmaking and the building, or adoption of an existing theatre as a Vistamorph auditorium in a popular location.

Phase 3: Establishing the concept worldwide.

Vistamorph are currently collaborating with Real View Innovation Ltd on a new 3-D concept for cinema.

Vistamorph is a UK registered trade mark - CopyrightŠ Chris O’Kane 2009.

Contact details: vistamorph@aol.com

OBITUARIES BARRY FLANAGAN/JEAN-PAUL CASSAGNAC

Barry Flanagan

Jean- Paul Cassagnac

Wrexham Cinema Showman

No more telegrams from Paris

by Alan Wilkinson via Roger Shone and D A Ellis

by Jim Slater

Showman Barry Flanagan, shown above with his staff outside his beloved Hippodrome, Wrexham, which he was involved with for over 37 years, was born on 23 July 1941 and spent his whole life in the Wrexham area. At the age of sixteen he worked for a paper shop by the name of Hamners. He then moved on to become a trainee water engineer at Wrexham and East Denbighshire Water Company.

Following this he went to work at the Glynn cinema in Wrexham in the projection box. At one period he projected films at the Empire Wrexham before moving on to project at the Savoy, Mold, where he met Eric (Ricky) Platt, who was the chief operator.

One day on his way home from the Savoy, Barry noticed that the Palace cinema in Buckley was closed. With Ricky Platt he contacted the owner and obtained a two-month lease with an option to extend.

In February 1961 the Palace reopened. At nineteen Barry was too young to hold the licence. His aunt, Mrs Ethel Roberts became the licensee and manageress. His sister Pat became the cashier and his girlfriend Audrey Mort was an usherette.

During his time at the Palace Barry noticed that the Hippodrome in Henblas Street Wrexham was closed and had been dark since November 1959. Originally known as the Opera House, the Hippodrome had been built on the site of the old Public Hall, which had burned down in 1873.

Barry obtained a lease and re-opened

the building in July 1961.

John Robertson, who was a booking agent for Columbia became a director with Barry and others.

In 1981 Barry went into partnership with a Mr Mike Roberts and opened the Vogue cinema, which was on Wrexham’s High Street.

Roberts was the landlord of the Jolly Tavern public house, which was under the cinema.

In August 1981 the freehold of the Hippodrome and blocks of shops either side were up for auction. Barry and the shop proprietors put an offer in that was acceptable and obtained the freehold.

In September 1986 after a fire that started in the business below, the Vogue closed. There were plans to re-open, which didn’t come to fruition.

This was because it was decided to twin the Hippodrome, which became two in October 1988, with one of the screens using back projection.

The Hippodrome closed on 8 September 1997 and went up for sale. While waiting for a sale Barry decided to re-open. The cinema came back to life on 21st November 1997 but finally went dark in January 1998.

The cinema was then gutted ready for retail use but was left empty for over ten years. Sadly the former showplace burned down and arson was suspected. The damaged building was demolished, leaving a vacant site.

Barry Flanagan, described as Mr Cinema by the press, died on 5 June 2008.

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Diary Dates PROJECTIONISTS’ TRAINING COURSE December 1, Glasgow ... www.bksts.com

CINEASIA December 8 - 10, Hong Kong, China ... www.cineasia.com

PROJECTIONISTS’ TRAINING COURSE January 26, Swindon ... www.bksts.com

SHOWEST March 15, Las Vegas, USA ... www,showest.com

NAB April 12 - 15, Las Vegas, USA ... www.nabshow.com

SHOWCANADA April 20 - 22, Vancouver, Canada ... www.showcanada.ca

CINEMA EXPO INTERNATIONAL June 21 - 24, Amsterdam, Netherlands ... www.cinemaexpo.com

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FEEDBACK LETTERS TO CT Remember the Tolmer

Alive and kicking

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C I N E M A T E C H N O LO G Y MAGAZINE ONLINE www.cinematechnologymagazine.com

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PROJECTIONISTS’ HANDBOOK The long awaited PROJECTIONISTS’ HANDBOOK is now available.

This publication is a must for anyone joining the profession and embarking on a training programme, it is also a great aid to trainers of in-house staff.

The book is an edited version of the larger BKSTS Projectionists’ Manual and contains the relevant sections for film presentation in a handy A5 format.

It is also designed to complement the recently introduced Certificate of Competence for projectionists.

TO ORDER YOUR COPY / FOR MORE INFORMATION ...

Please e-mail DION HANSON at cinematech@btinternet.com FOR MORE INFORMATION ABOUT THE CERTIFICATION SCHEME ...

Please e-mail ALAN McCANN at aemac@talktalk.net

Bletchley Park, BLETCHLEY. Buckinghamshire MK3 6EB. U.K.

To all those who have, or had, some interest in projected moving images, past and present.

Perhaps you’re already connected with today’s cinema, technical or otherwise, but have an interest in vintage equipment, or you have been retired from the business so long, you would wish to revisit “the good old days�.

Take heart and consider joining

and help preserve the magic of cinema. Apart from equipment restoration, the Trust provides help and assistance to non-commercial community cinemas and museums exhibiting ďŹ lm related artefacts.

The National Museum of Cinema Technology has perhaps, the largest collection of all types of ďŹ lm equipment in the U.K. The Data Archive within the museum holds over 3,000 items including technical manuals, ďŹ lm related documents, press cuttings etc. Membership of the P.P.T. will give you access to these amenities as well as the collections within the Trust’s regions.

JOIN US TODAY by contacting either of the following addresses or by post direct to the NMCT above. contactppt1@googlemail.com www.ppttrust.org

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BOOK REVIEW CINEMAS OF NORTH TYNESIDE

Frank Manders

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CUT YOUR DIGITAL CINEMA OPERATING COSTS WITH A PERLUX SCREEN CHANGING TO A HIGHER GAIN SCREEN REDUCES LAMP POWER REQUIRED s )F A SMALLER PROJECTOR CAN BE USED SAVINGS CAN BE EVEN GREATER

,!-0 0/7%2 /0%2!4).' #/34 KW PER YEAR PER HOUR

s 4YPICAL PAYBACK ON SCREEN REPLACEMENT IS TWO YEARS OR LESS

3O WHETHER YOUR DIGITAL IS $ $ OR BOTH TALK TO (ARKNESS 3CREENS THERE S A WHOLE LOT TO GAIN

HOURS OPERATION PA MANUFACTURERS WARRANTY LIFE FOR LAMPS USER LAMP PRICES

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