Cinema Technology Magazine - December 2023 (Vol. 36 No. 04)

www.cinema-technology.com The world's leading cinema technology & business publication > VOL.36 NO.4 > 12/23

BEYOND BLOCKBUSTERS HOW CINEMAS ARE REDEFINING THE ENTERTAINMENT EXPERIENCE

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C T

V I E W

Richard Mitchell, President, Cinema Technology Community

A

nd so we end the

challenge by creating unique spaces,

Back in the spring, CTM took a focus

year on a high…of

enhancing comfort, improving food and

on Sustainability and with this subject

sorts.

From

beverage offerings and connecting with

amplifying in importance across the

Mission Impossible

movie-goers through unique experience

sector, we look at the direction film

and Super Mario

and marketing campaigns including but

production is taking to reduce cost and

Bros, to Indiana Jones and ‘Barbenheimer’

far from limited to national cinema days,

waste and also highlight the work being

and even Taylor Swift, 2023 has proven to

which as we have covered previously in

undertaken

be a significant step in the recovery of our

CTM have proven an enormous success in

Cinemas' to become a net-zero business

industry in terms of box office and

reinvigorating audiences.

by 2030.

by

UK-operator

'Savoy

admissions. Whilst challenges remain in

In this edition, we shine a spotlight on

As we draw this year to a close, it only

2024, we can close out this year assured in

some of those successes looking close to

remains for me (on behalf of the CTC

the knowledge that the writers strike is

CTM’s home at the way in which

team) to thank our writers who give their

now behind us, and that once the content

Oxfordshire-based 'The Living Room

time so generously, our advertisers for

flow is truly restored, the runway is clear

Cinema' has built a cultural connection

their

to complete our recovery and begin to

with the local community of Chipping

wonderful design and editorial teams for

grow the industry.

Norton and UK operator 'The Light' has

creating this cherished publication.

The last few years have taught us the

diversified

from

traditional

exhibitor to mixed-entertainment venue

sector has also identified the need to

operator. We also look further afield at

compete

harder

Turkey and North America at different

consumer

entertainment

out-of-home

support,

and

our

cinema

value of hard work and collaboration. The for

continued

spending

cinema-going offerings and how these are

particularly during the cost-of-living crisis

resonating with consumers and focus on

we currently face, to demonstrate value,

the key element behind driving success at

drive new experiences and build stronger

the box office, the way we market movies

ties with our local communities. Across

and build those unique experiences that

the world, exhibition has embraced this

movie-goers now demand. www.cinema-technology.com

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C O N T E N T S C I N E M A T E C H N O LO GY M AG A Z I N E > V O L . 3 6 N O. 4 > 1 2 / 23

NEWS

07

Q-Sys, a division of QSC launches its brand new UK experience

centre.

09

Sharp/NEC announces new NEC NC1503L lightweight projector.

FEATURES

16

Comscore's Lucy Jones takes a look at UK box office and the path back

to £1 billion.

20

Does laser projection always have to mean speckle? We look at a

large format auditorium in Spain which suggests not.

24

David Hancock looks at VFX and

36

Our Green Shoots series this time

VP and the various benefits of

these.

46

shines a light on the work of UK

exhibitor Savoy Cinemas on their path to net zero.

40

Building a mixed-entertainment

43

Mixed

46

Community engagement matters

50

Sandie Caffelle talks to Hakan

54

Jenny Sidorova looks at how

space, learn about the design

challenges. entertainment

offerings

have arrived in the UK being led by

The Light.

54

as The Living Room Cinema

demonstrates.

In the first of a new multi-part series, Markus Overath looks at

cinema seating, starting with how to define a seating concept.

28

32

We catch up with MAG Audio to learn about their history, current

innovations and working in a war zone.

Cinema Technology Community (CTC) 124 City Road London EC1V 2NX E: info@cinema-technology.com CTC PRESIDENT: RICHARD MITCHELL E: richard.mitchell@cinema-technology.com

Askar to learn about the Turkish

cinema market.

exhibition and indeed the wider

industry can amplify the cinema experience.

ART DIRECTOR: DEAN CHILLMAID E: dean.chillmaid@cinema-technology.com COMMISSIONING EDITOR: PETER KNIGHT E: peter.knight@cinema-technology.com ADVERTISING: ADVERTISING TEAM E: magazine.advertising@ cinema-technology.com

SUBSCRIPTIONS Cinema Technology is mailed to IMIS Members. For subscription details and to read the magazine online, visit www.cinematechnology.com or email peter. knight@cinema-technology.com

An official publication of

e v e n t s & v i e w s

CT NEWSREEL

n e w S ,

i n d u s t r y

r o u n d - u p

g l o b a l t h e o f

U p - t o - d a t e

Egham, UK

Q-SYS Launches UK Experience Centre Q-SYS, a division of QSC UK & Ireland

consultants and end-users a space where

High-Impact Space Transform a high-

Limited, has recently launched Q-SYS

they can explore new features and

impact space into a full broadcast-

House, a 12,000 square foot UK Experience

functionalities, equip themselves with

ready room for lecture theatres, cinema

and Training Centre located in Egham, just

the knowledge and skills to optimize

or presentation spaces.

outside London, England. The centre is

performance, and gain insights into the

Remote Monitoring & Management See

conveniently located just 10 minutes from

latest trends and best practices.”

how Q-SYS Reflect Enterprise Manager

Heathrow Airport and 30 minutes from

Ron Marchant, Vice President EMEA

can easily monitor your entire AV

central London, making it easily accessible

Sales and Marketing, Q-SYS, added, “We

system from anywhere in the world,

for visitors. The Q-SYS House offers

have always been committed to providing

including

customers a hands-on experience of the

our partners with the best tools, support,

peripherals.

Q-SYS audio, video & control Platform

and service to help them and their

Q-SYS

and Ecosystem. The Experience Centre

customers

create

meaningful

opportunity

showcases solutions for a variety of high-

connections

and

unforgettable

consultants, and end-users to explore

impact spaces including divisible rooms

experiences. The new spaces in the UK

new features and functionalities, equip

and a large auditorium, while the

Experience Centre do exactly that. We

themselves with the knowledge and

dedicated Training Centre is home to the

look forward to welcoming our partners

skills to optimize performance, and

award-winning Q-SYS training curriculum.

to the space and providing our customers

gain insights into the latest trends and

Duncan Savage, Managing Director

with more opportunities to discover,

best

experience and develop.”

destination for anyone interested in

for UK & Ireland, Q-SYS, expressed his

connected

House

practices.

is

an

for

It

is

At the Q-SYS House, visitors can take

Q-SYS UK Experience and Training Centre.

a journey through Q-SYS in 4 unique

Platform and Ecosystem.

He said, “We believe in fost ering strong

spaces:

www.qsys.com

Collaboration See how Q-SYS can

with the tools and resources necessary to

transform any collaboration space with

thrive in their businesses. This interactive

Q-SYS enabled multicamera switching.

Experience Centre will give integrators,

excellent integrators,

excitement about the opening of the

partnerships and providing our customers

third-party

a

must-visit

the Q-SYS audio, video & control

Divisible Space This interactive demo shows

how

Q-SYS

can

remove the complexity by managing room combining and automation, which can be customized to the needs of the space. www.cinema-technology.com

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NEWS

Kortrijk, Belgium

Cinema Industry Executives Launch the Fithian Group John Fithian, Patrick Corcoran and Jackie Brenneman partner in consulting firm serving clients in the global movie exhibition industr y.

FORMER National Association of

streaming – we got through all that, and

Theatre Owners executives John Fithian,

now,

Patrick Corcoran and Jackie Brenneman

agreements are another signal that it is

the

major

Hollywood

labor

announced recently the launch of their

the time to build.”

Barco strengthens its commitment to cinema and fully acquires Cinionic

new consulting firm – The Fithian Group

“The way we work has always been

LLC. With more than 60 years combined

about collaboration,” Brenneman said.

experience in the cinema industry, the

“We extend that way of working to how

three partners will put their skills,

we build value for our clients. In our trade

BARCO announced that it has reached an agreement

experience and track record at the service

association days, we knew that theater

with China Film Equipment Co., Ltd. (“CFEC”) to fully

of individual companies worldwide that

owners needed allies, whether it was

acquire Cinionic’s premium cinema solutions business.

seek to grow, innovate and invest in the

other cinema owners around the world,

theatrical space. Whether it’s a new

technology

creative

commitment to the global cinema industry. As the

company; a wider, more diverse range of

community, or distributors, and we

installed base of lamp-based projectors in the market is

films

worked

those

ageing, all focus is now on the renewal of these projectors

technologies, The Fithian Group will

connections. They paid off in times of

with next generation laser projectors. The integration of

advise

build

crisis and we believe we can leverage

Cinionic’s business will allow Barco to operate in the

partnerships, connect investors, bring

these partnerships to help our clients

cinema market with even greater operational efficiency

innovations

grow in times of opportunity.”

and agility to adapt effectively to market dynamics and

and

cinema

clients to

on

events;

or

strategy,

market,

and

new

design

strategic communications.

companies,

tirelessly

to

the build

Corcoran added, “We have always

Wim Buyens resigns as C EO

With this deal, Barco confirms and strengthens its

customer needs. Following the transaction and from 2024

“We have spent the last couple of

believed that the cinema industry was

onwards,

decades helping to guide the cinema

essential and strong. Telling that story to

marketing and service activities will be fully integrated

industry through the biggest challenges it

the press, the public, and Wall Street has

into Barco’s Cinema business unit, a part of the

has faced,” said Fithian. “Now, having

always been a priority for us. What the

Entertainment division. This business unit will continue to

survived those challenges, we want to

cinema industry needs is more: more

be led by Gerwin Damberg. Wim Buyens will continue to

help

seize

movies, more innovation, more diversity

work with Barco and support a smooth transition of the

opportunities and grow. Digital cinema,

and more investment. We will continue to

cinema business. The strong relationship between Barco

the long fight for theatrical exclusivity, the

tell that story on behalf of our clients in

and CFEC is maintained. In China, both companies will

pandemic and Hollywood going all-in on

the industry.”

continue to operate their successful joint venture “CFG

our

industry

clients

Cinionic’s

current

market-leading

sales,

Barco” to serve the Chinese market.

Announcing his resignation from the position of CEO on social media, Wim Buyens stated: “In 2007, I joined a very different business and industry than the one I see today. I could not have imagined back then just how far we would come: full digital conversion, 4K projection, recordbreaking brightness, as-a-service business models, sustainability enhancements, the adoption of laser projection as the leading choice, and the trust of partners everywhere to realise a #1 market position. It’s been a journey of learning, evolution, innovation, and pushing

New York

boundaries. I am humbled to have shared in the realisation of so many achievements and the lasting impact they will have on cinema for a generation.”

(Left to right) John Fithian, Jackie Brenneman and Patrick Corcoran.

8

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www.cinema-technology.com

Ferco Celebrates Milestones FERCO Seating Systems established by

including cinema of course. The UK team

venues too numerous to mention by name,

CEO Tim Barr and based in Malaysia, has just

celebrated

in

but include The Picture House Uckfield, Jam

celebrated 40 years of manufacturing and

Barcelona with their sister company K+ who

Jar Cinema, The Beau Sejour in Guernsey

supplying seating. From humble beginnings

are based in Spain. Over the years Ferco UK

and of course, quite recently, Battersea

it has grown into one of the world's largest

has built up a very loyal client base which

Power Station Cinema.

manufacturers

of

auditorium,

this

Silver

Anniversary

cinema,

includes independent chains such as Savoy

Over the past 25 years, and in recent

education and sports seating companies

Cinemas, WTW.Scott Cinemas, Arc Cinemas

times with the leadership of the current MD

and continues to retain its reputation for

and Parkway Cinemas. The Cineworld VIP

Jane Shepherd, Ferco has picked up many

excellent customer service. In 2023, Ferco's

Screen and IMAX at the Science Museum

awards and accolades - the most recent has

UK office is celebrating 25 Years of providing

are probably worth a mention too. There

been obtaining the Furniture Manufacturers

a full range of seating to varied venues -

are a huge number of boutique/smaller

Environmental Accreditation (BIFA).

Sharp/NEC announces new lightweight NEC NC1503L Digital Cinema Projector for flexible installations SHARP/NEC Display Solutions Europe

The NEC NC1503L digital cinema projector

consumption and overall lower total cost of

announced the launch of the latest digital

is the ideal replacement for current Xenon

ownership (TCO), the NEC NC1503L is the ideal

cinema projector: the NEC NC1503L is a

lamp-based models: it features a laser light

replacement for current Xenon models.

compact, lightweight and quiet projector

source for a reliable performance and optimal

“By adding the state-of-the-art NC1503L

model that features the same proven cabinet

brightness of up to 14,000 Lumen for a

projector to our extensive portfolio range of

as the NC1402L. The new model is using RB

lifespan of up to 50,000 operating hours. The

cinema projection technologies, we continue

laser technology, boosting its performance to

laser light engine also reduces the model’s

to focus strongly on supporting the cinema

up to 14,000 Lumen brightness.

power usage and the amount of replacement

industry,” adds Gerd Kaiser, Senior Product

allows

materials required. Additionally, the engine is

Line Manager Large Venue and Digital Cinema

for flexible installations and usage. As

In

addition,

the

NC1503L

optically sealed, which minimizes dust ingress

projection at Sharp NEC Display Solutions

there is no exhaust system required, the

and assures consistent performance without

Europe. “We wanted to provide cinema

NC1503L is suitable for floor and ceiling

special maintenance: This means lamp or

operators with a solution that is highly

installations as well as versatile content

filter replacements, additional personnel

performant, reliable, and flexible to install,

playback. These key assets make it an ideal

costs, or lamp stock are obsolete. In

all at a low TCO. With the NC1503L projector,

solution for small projection booths or even

combination with its almost maintenance-

we developed a solution that covers all

boothless, mobile cinemas.

free operation, significantly lower power

these needs.”

www.cinema-technology.com

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9

NEWS

Sound Vision Technical Successfully Install Arts Alliance Media’s Screenwriter TMS Across Alamo Drafthouse Cinemas ARTS Alliance Media (AAM), the global

“It was crucial for Screenwriter to be

leader in digital cinema software and

installed without error and in a timely

support services, has confirmed that

manner”, said Frankie Vaquerano, Director

Sound Vision Technical (SVT), a technology

of Presentation at Alamo Drafthouse. “The

services provider offering digital cinema

SVT team remained flexible and receptive

conversions and installations worldwide,

throughout deployment, helping to train

has successfully deployed Screenwriter

staff and onboard us effectively, and we

throughout Alamo Drafthouse Cinemas’

now look forward to enjoying the benefits

main market sites.

of upgrading to Screenwriter.”

After

selecting

Screenwriter,

the

While each party was committed to

world’s most powerful, widely deployed

efficiency in deployment, the process’

Theatre Management System (TMS), as

fast-paced nature was the result of careful

their TMS of choice, Alamo Drafthouse

planning, thorough onboarding, and the

successfully brought 68 screens online

strong relationship between SVT and

across sites in Austin, San Antonio, New

Alamo Drafthouse.

Austin, Texas

Peter Kim, Global Sales Director at Arts Alliance Media, added, “Sound Vision

York City, and Boston. While, 32 screens in

“The ease and accuracy of the

Technical have our full support as they

Brooklyn, Naples, and Denver can expect

Screenwriter rollout is reflective of the

complete the deployment of Alamo

to begin centralising content, KDM and

product’s simplicity in setup and the trust

Drafthouse’s main market and prepare to

site management by December 2023.

we have built with Alamo Drafthouse,”

bring the franchisees online in 2024. We

of

explained Chase Taylor, Owner of Sound

remain dedicated to simplifying the install

Screenwriter was not only propelled by

Vision Technical. “From the moment we

process for both direct customers and

Alamo Drafthouse’s ambition to improve

arrived at each location, theatre-level staff

integrators.”

operational efficiency, but a reflection of

were on-hand, ready to start the process,

Screenwriter is set to be deployed

SVT’s meticulous professional services

and have been the catalyst behind every

throughout Alamo Drafthouse’s franchise

and attentive customer care.

smooth transition.”

locations from March 2024.

The

timely

deployment

Green screens: Powersoft signs commercial agreement with CinemaNext CINEMA owners in 60 countries can now benefit

from

the

energy

efficiency,

and Quattrocanali series, Mezzo series and new

and consulting services.

cloud-based

Unica

amplifier

platform.

environmental sustainability and world-class

The new partnership will enable Powersoft

Powersoft's global key account manager,

audio quality offered by Powersoft's portfolio

to better answer cinema customers' needs and

Francesco Cionini, comments: "As a particularly

of amplifiers.

explore new audio product opportunities,

dynamic and evolving industry, the cinema

Heralding further growth in the global

increasing its presence and visibility in target

market

cinema market, Powersoft recently announced

markets and new areas. In turn, by leveraging

technologies to reduce operational costs,

the signing of a commercial agreement with

the distinctive technical features of Powersoft's

improve customer experience and provide the

leading cinema exhibition services provider

products, CinemaNext will enhance the audio

best in audio and video technology. For this

CinemaNext.

solutions offered to its end cinema customers

reason, a number of cinema brands already

The largest company of its kind in the

1 0

glasses, TMS, digital signage, screens, seating

is

constantly

looking

for

new

with improved audio quality and product

trust Powersoft to provide high audio quality,

EMEA region, CinemaNext provides smart,

stability,

customers

reliability and sustainability for their venues.

comprehensive solutions across the board,

operational costs. The agreement includes a

We are very excited about this new partnership

from projection equipment to audio systems,

long-term supply in 60 territories in EMEA,

with CinemaNext, which will allow more

central systems, cinema outfitting, content

with Powersoft providing direct access to its

cinema owners to benefit from our innovative

management, 3D projection systems and

portfolio of amplifiers, including the Duecanali

audio solutions."

>

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as

well

www.cinema-technology.com

as

saving

NEWS

London

Christie RGB pure laser projection powering screenings at 67th BFI London Film Festival CHRISTIE® continued its partnership with the BFI for the 67th

Winner Emerald Fennell, starring Barry Keoghan, Jacob Elordi,

BFI London Film Festival (LFF) in partnership with American

Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe

Express. The BFI LFF returned to the Southbank Centre's

and Carey Mulligan. This year's American Express Gala film is 'One

prestigious Royal Festival Hall on the South Bank of the Thames,

Life', starring Anthony Hopkins. Headline galas also include the

where the concert hall is served as the main red carpet gala venue

Martin Scorsese film 'Killers of the Flower Moon' and Bradley

from October 4 to 15th.

Cooper's 'Maestro'. The festival will close with the World Premiere

Dominic Simmons, head of technical services at the BFI, says,

of Kibwe Tavares & Daniel Kaluuya's 'The Kitchen', co-written by

"Christie RGB pure laser projectors showed extremely vivid

Joe Murtagh, who was awarded Christie's 'Most Promising Student

colours and contrast on the screen. Last year, directors and film

Award' at the National Film and Television School in 2015.

representatives witnessed their work on the Christie Real|Laser illuminated projector and loved what they saw. I'm pleased that we're able to again screen films in high quality using Christie for the Royal Festival Hall."

Christie Cinema Sales Manager, Phil Lord, commented: "It's a pleasure to continue our longstanding partnership with the BFI and the BFI London Film Festival this year, allowing us to provide projection befitting of such a prestigious event. With our RGB pure laser technology, the latest films will shine brightly, with

PHOTO CREDIT: DARREN BRADE

exceptional colour reproduction and vibrant images.

Featuring CineLife+ electronics and Real|Laser™ illumination, Christie RGB pure laser cinema projectors exceed DCI standards, excel in image quality and brightness, operational efficiency, and offer reduced costs and increased sustainability.

The Festival's opening night saw the International Premiere of 'Saltburn' directed, produced and written by Academy Award® 1 2

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www.cinema-technology.com

The red carpet at BFI LFF.

Saltburn Director and Producer Emerald Fennell attends red carpet premiere of the movie at the 67th BFI London Film Festival.

Arts Alliance Media Agree MX4D Partnership with Lotte Cinema and AMPA ARTS Alliance Media (AAM), the global leader in digital cinema software and support services, has agreed a significant MX4D partnership with Lotte Cinema, the second largest multiplex cinema chain in Korea, and AMPA, a Korean cinema technology integrator.

Presenting audiences with an unrivalled, multidimensional moviegoing experience, Lotte Cinema will introduce the immersive MX4D Motion EFX Theatre to 10 locations throughout South Korea as they prepare to enhance their PLF offering and accelerate box office revenue. Selected over recognised, local 4D solutions, MX4D will be installed at two sites in 2023, with the remaining eight locations set for completion throughout

Cinionic debuts new product at SMPTE Media Technology Summit Cinionic provides sneak peek of the Barco Series 4 SP4K-P at SMPTE 2023 CINIONIC, a Barco company and

bring a studio’s creative vision to life in

2024 and early 2025. Responsible for all installations,

global

cinema

today’s laser-powered cinemas. The Series

AMPA, the acting technology partner, will become Lotte

technology, debuted a new Barco laser

4 model combines the power of laser

Cinema’s first point of contact for MX4D’s motion and

projector

for

projection with specialised software for

special effects products and services.

post-production in a special first-look

more streamlined editing workflows and

demo

“We’re delighted to bring the renowned MX4D brand

leader

at

in

designed the

laser

specifically

Media

xenon-look capability to ensure image

to our cinemas in South Korea,” explained Kim Byung

Technology Summit in Hollywood. Part

SMPTE

2023

consistency across in-theater projection

Moon, Managing Director of the Cinema Business Division

of the company’s award-winning Barco

technology. The new Barco Series 4 SP4K-P

at Lotte Cultureworks. “Our primary objective is to offer

Series 4 laser family, the Barco Series 4

makes it possible to grade for both laser

unforgettable moviegoing experiences where audiences

SP4K-P is the first laser projector

and

can immerse themselves in the on-screen action. With

developed exclusively to meet the

projector, supporting the needs of creative

MX4D’s best-in-class motion technology, we can achieve

unique needs of the post-production

professionals

that objective.”

community. With the new Barco Series

transition to laser.

xenon

presentation during

with

the

one

ongoing

Combining a patented EFX armrest with ranging

4 SP4K-P, Cinionic introduces new tools

The Barco SP4K-P design is tailored to

motions and 10 in-seat special effects, including wind,

to create content that enriches both

the needs of the post-production industry,

scent, and water blasts, MX4D’s comfortable, state-of-

the

incorporating

the-art seats offer moviegoers a unique environment in

experience when presented in laser.

movies

and

the

moviegoing

features

that

enable

unparalleled laser image craftmanship,

which to ‘feel’ the on-screen action. Adding to the

The Barco Series 4 SP4K-P builds on

including REC2020 color gamut, 5000:1

auditorium’s appeal, rain, fog, snow, and carefully

the legacy of the Barco DP4K-P, delivering

contrast level, and is part of an HDR

programmed light EFX also contribute to creating a

the colour gamut and contrast needed to

grading solution.

thrilling theatrical setting.

Cinebox Selects GDC as a Technology Provider GDC Technology Limited, a leading global

Cinebox with GDC digital cinema servers designed

Henry, founder and CEO of Cinebox. “Our

provider of digital cinema solutions recently

with the latest and most powerful semiconductor

relationship is focused on a common goal to

announced that Cinebox signed an agreement to

technology for near-zero maintenance and

improve the experience for our guests. This server

replace all legacy media servers with GDC’s SR-

minimal total cost of ownership. Since its launch

replacement agreement with GDC is testimony

1000 Standalone Integrated Media Block with

at CinemaCon 2018, GDC has shipped over 24,000

that we have each other’s best interest in mind.”

diskless CineCache built-in cache memory

SR-1000 units to theatres globally.

storage. Cinebox is Mexico’s largest independent

“At

Cinebox,

we

base

Cinebox is the largest independent cinema business

chain in the Mexican Republic and has 12

theatre circuit and operates in 13 cities such as

partnerships on trust and mutual value. Our

our

cinema complexes with a presence in seven

Poza Rica, San Juan, San Martin, Tampico, Tula, and

partnership with GDC is built upon a mutual trust

states of the Mexican Republic and operates a

other Mexican cities. This agreement provides

that has been fostered over time, said Roberto

total of 71 screens.

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1 3

NEWS

Pearl & Dean strengthens its Irish business with the appointment of Damon Westbury PEARL & Dean, the UK’s bestknown

cinema

Collaborating

advertising

of

said: “We are delighted to be welcoming Damon to the Pearl & Dean team. Damon joins

strengthening of its Irish arm of

team, he will jointly report to

the business at a pivotal time, as we celebrate

the

the

Kathryn Jacob, CEO UK, and

our 70th anniversary and focus on further

appointment

of

Dean’s

Kathryn Jacob OBE, CEO Pearl & Dean UK,

directors and senior leadership

with

&

with

company, recently announced a business

Pearl

closely board

Damon

Eoin Wrixon, CEO Ireland. Prior

growth and new opportunities. His knowledge

Westbury as Chief Commercial

to joining Pearl & Dean, Damon

of the industry will be paramount in driving

Officer (CCO).

worked in numerous senior

this forward and he is going to be a huge asset

roles throughout the course of

to our team across Ireland as well as to the

his

wider team in the UK.”

Pearl & Dean Ireland, which rebranded

from

Wide

Eye

career.

This

includes

Media in 2022, is the market leader for cinema

Microsoft Advertising, Clear Channel Global,

Eoin Wrixon, CEO Pearl & Dean Ireland

advertising in Ireland and has 100% share of the

The European Broadcaster Exchange, Zinc

adds: “We are delighted to have Damon joining

cinema advertising market. The Irish operation

Media PLC and most recently with WPP’s

Pearl & Dean. His appointment is part of a

is also home to Adtower, Ireland’s largest

proprietary programmatic agency Xaxis. He

significant investment as we grow our cinema

Digital Out of Home Convenience Retail Media

brings over 20 years of experience to the

advertising, out of home and digital publishing

network and Packed.House an experiential

business with a unique background across,

business in Ireland. Damon brings a wealth of

and

traditional,

experience and expertise and is a key addition

digital

media

services

production

digital

and

programmatic

company, and publisher of much-loved online

advertising as well as branded entertainment

properties including entertainment.ie, Beaut.ie

and publishing.

and FamilyFriendlyHQ.ie.

to the Pearl & Dean team.”

Damon

Westbury,

Chief

Commercial

The announcement of Damon’s role

Officer at Pearl & Dean Ireland: “I am thrilled to

In this new role Damon will be responsible

coincides with the celebration of Pearl & Dean’s

join Pearl & Dean at such an exciting time, to

for commercially scaling Pearl & Dean’s

70th anniversary in UK cinema advertising this

spearhead our commercial expansion across

powerful group media assets in Ireland and

year. The company has maintained its position

existing media formats, new mediums, and

new markets, building an omnichannel media

as the UK’s best-known cinema sales house,

markets. I look forward to architecting and

offering and driving new revenue and

with its impressive roster of Pearl & Dean

building a compelling cross-media proposition,

commercial partnership opportunities under

cinemas including new contracts with Curzon

under this iconic brand, for our media agency,

the wider Pearl & Dean media brand.

Cinema and BFI IMAX won earlier this year.

advertiser, retail and AdTech partners.”

T-Squared Social Heading to Scotland NEXUS Luxury Collection and its shareholders

extensive renovations to support its new

opportunities and the long-term future of the

Tiger Woods and Justin Timberlake announced

offerings, T-Squared Social will maintain one of

venue. We are excited to welcome Tiger Woods

plans to open its second T-Squared Social, a

the movie screen theaters for watching theatrical

and Justin Timberlake to St. Andrews.”

premium sports and entertainment gastro pub,

films, live-to-cinema events and marquee TV

in the New Picture House Cinema on North Street

programming.

in St. Andrews, Scotland, located just three minutes from the famous Old Course.

T-Squared

Social

redefines

the

Morris continued, “The New Picture House will continue to operate as usual until further

On behalf of the Directors and Shareholders,

notice. The Directors look forward to supporting

David Morris, Managing Director of the New

T-Squared Social with their development plans

multi-

Picture House, said, “Since opening for the first

and to welcoming new and existing customers

dimensional dining experience, merging elevated

time in 1930, the New Picture House has been an

into the New Picture House on completion of the

cuisine and craft cocktails with state-of-the-art

integral part of the town’s entertainment base.

redevelopment works.”

Full Swing simulators for golf and other interactive

The planned T-Squared Social investment will

T-Squared Social (an homage to the “T’s” in

gameplay, duckpin bowling, darts, and premium

enable the local community, students and

Tiger and Timberlake) recently opened its first

sports-watching with large format televisions.

visitors, the opportunity to experience a broader

venue to great acclaim in the heart of New York

range of cinema, dining and entertainment at the

City (USA) and looks to St. Andrews - “The Home

within the New Picture House built over 90 years

popular

of with the seller represented by Entertainment

ago by local businessmen. After undergoing

opportunity will secure greater employment

The new T-Squared Social will be located

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venue.

This

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unique

investment

Solution Services.

£1 BILLION T H E

R O A D

B A C K

T O

Lucy Jones, Executive Director, Comscore.

Annual UK & Ireland box office had exceeded £1.3 billion in each of the five years up to 2019. While box office is demonstrably recovering year-on-year, full recovery is now anticipated in 2024. Will 2023 be the first year since 2019 to pass the significant £1 billion milestone?

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A N A LY S I S

T

en months into the year, 2023 is running an encouraging 10% ahead of 2022 YTD at £892m. Just nine playweeks remain to

K & I R E L A N D B OX O F F I C E U T R E N D S S I N C E 201 7

make up the £108m required to hit that

UK AND IRELAND BO

BO CHANGE V PRIOR YEAR

NUMBER OF NEW RELEASES

2017

£1,380,541,205

+4%

926

2018

£1,377,835,217

0%

924

2019

£1,353,637,851

-2%

938

2020

£323,350,946

-76%

445

2021

£597,075,205

+85%

503

2022

£978,529,874

+64%

911

mythic £1 billion target. Casting a cloud over

the

summer

sunshine

of

“Barbenheimer”, the writers’ and actors’ strikes in Hollywood created shockwaves in the Q4 release calendar with major titles including Ghostbusters: Frozen Empire, Kraven The Hunter and Dune: Part II all moving to 2024. The news that the strikes have ended has re-injected some confidence into the final months of the year, with several significant releases yet to debut. Based on current forecasts, it will go down to the wire, with box office expected to pass £1 billion as late as the final week of December.

Current forecasts from Gower Street Analytics show UK & Ireland box office topping £1 billion, probably hitting £1.05 billion, with the worldwide total expected to pass $34 billion (33% ahead of 2022).

‘Saturation’ Releases Matter Hot on the heels of The Hunger Games: The Ballad Of Songbirds And Snakes scoring the tenth-biggest 3-day opening of 2023, November concluded with Napoleon and Wish, while preChristmas audiences will be looking forward to Wonka and

Worldwide, after an unexpectedly strong summer, Q4 has

Aquaman And The Lost Kingdom. We know this is a strong period

faltered slightly. October 2023 was a relatively weak month,

for family audiences; last December Roald Dahl’s Matilda The

falling below October 2021 and slowing the pace of recovery. In

Musical exceeded all expectations in the run-up to Christmas,

UK & Ireland, seven October releases achieved over £5m, with

taking over £16m by Christmas Day on its way to £28m lifetime.

the month only marginally outperforming last October by 3%.

This was followed from mid-December by Avatar: The Way Of

Top new release Trolls Band Together was timed for the school

Water, achieving over £42m in-year and a grand total of almost

half-term holidays, and Halloween audiences boosted Five

£77m. The long period of strikes has not so far significantly

Nights At Freddy’s to a shock £10m take. But the big October

dented the volume of blockbuster releases. In 2022, 911 new titles

surprise came from Taylor Swift, with the announcement that her

were released into cinemas, a significant increase from 2021 and

Eras Tour would be broadcast into cinemas from 12th October

almost returning to the peak level of 938 releases in 2019.

over four weekends. The North America release was announced

However, there was a marked reduction in blockbuster releases

in early September but Swifties around the world thought they

due to production delays in 2022: pre-pandemic, 2019 saw 186

would have to wait until the live tour rolled into their city (not

‘saturation’ releases (those films opening in 250+ cinemas) while

until June 2024 for UK fans)… until the bombshell announcement

the equivalent figure for 2022 was 135 saturation releases. As the

on 26th September that the concert film would be available

average revenue for each saturation release was £6.4m in 2022

worldwide just over two weeks later.

and £6.9m in 2019, it was estimated that a return to 2019 levels of

This was exactly what cinemas needed. If we learned one

saturation releases could add £325m–£350m to annual box

lesson from the pandemic, it was the sector’s reliance on a

office totals. 2023 is looking much stronger with 142 saturation

constant stream of compelling content. Cinemagoing is a habit

releases by the end of October, 25% ahead of the 114 released in

and we need regular must-see events to jolt lapsed audiences

the equivalent months of 2022.

back into action. Boosting the October box office across

A N A LY S I S

K & IRELAND TOP 10 U EVENT CINEMA RELEASES*

more than 80 territories, the Eras Tour has broken all records for a concert film and the overall Event Cinema sector, scoring over $123m globally on opening weekend and $240m lifetime – not including exhibitor revenues from limited edition

DISTRIBUTOR & RELEASE DATE

BO TO 2/11/23 IN £M

ROCK/POP CONCERT

TRAFALGAR RELEASING 13/10/23

10.7

A LITTLE LIFE

THEATRE

TRAFALGAR RELEASING 22/09/23

1.4

3

EXHIBITION ON SCREEN: VERMEER - THE BLOCKBUSTER EXHIBITION

EXHIBITION

SEVENTH ART PRODUCTION 14/04/23

1.26

4

GOOD NT LIVE

THEATRE

NATIONAL THEATRE 14/04/23

1.25

5

ANDRE RIEU’S 2023 MAASTRICHT CONCERT: LOVE IS ALL AROUND

CLASSICAL CONCERT

PIECE OF MAGIC ENTERTAINMENT 25/08/23

0.85

6

ANDRE RIEU IN DUBLIN

CLASSICAL CONCERT

PIECE OF MAGIC ENTERTAINMENT 06/01/23

0.85

7

FLEABAG NT LIVE 2019 (RE: 2023)

THEATRE

NATIONAL THEATRE 09/06/23

0.81

8

BTS: (YET TO COME IN CINEMAS)

ROCK/POP CONCERT

TRAFALGAR RELEASING 27/01/23

0.80

9

CINDERELLA ROH, LONDON

BALLET

ROYAL OPERA HOUSE, LONDON 07/04/23

0.63

10

THE CRUCIBLE – NT LIVE

THEATRE

NATIONAL THEATRE 20/01/2023

0.62

TITLE

GENRE

1

TAYLOR SWIFT: THE ERAS TOUR (STILL ON RELEASE)

2

popcorn buckets and collectible cups. Taylor Swift’s home market of North America is by far the highest-grossing territory, contributing over 75% of the box office, but UK & Ireland is punching above its usual weight with almost 7% of the total.

Mexico and Australia follow the same pattern, exceeding their usual share, with Germany making up the top 5 territories. It’s unheard of for an Event Cinema release to claim a spot in the worldwide Top 30 films of the year, but the scarcity/high price of live concert tickets and large number of showtimes helped to boost it to these heights. Initially scheduled for a fourweekend run, it looks likely to play on throughout November and beyond.

The Importance of Event Cinema Alongside the Eras Tour, theatre and concerts dominate the Event Cinema chart for the year to date, with A Little Life selling well despite its 18 rating and hard-hitting subject matter. The chart is typically diverse with art, ballet and classical music featuring alongside K-Pop. While no operas made the Top 10, it remains a popular genre with three new releases in the Top 20, all from the Royal Opera House. Ranking at No.14, 16 and 17 respectively and achieving a total of £1.1m, we had new productions of Turandot, The Marriage Of Figaro and The Barber Of Seville. Prior to the Eras Tour, the top UK & Ireland Event Cinema release of all time was the National Theatre’s Prima Facie starring Jodie Comer (£5.4m). With the Eras Tour coming so soon after the success of Barbie and The Little Mermaid, and following in the footsteps of other one-woman events Prima Facie and Fleabag (re-released in June), it feels like girls do run the cinema world. Did someone mention Beyonce?

Showcased at the Event Cinema Association conference in November, before Wonka and Aquaman, the year ends with a diverse range of Event Cinema heavy-hitters. For music fans, Cliff Richard’s Blue Sapphire Tour plays cinemas in late Beyonce’s Renaissance film and Andre Rieu’s White Christmas.

Continuing the Christmas theme, the traditional Nutcracker from the Royal Opera House beams into cinemas mid-month.

Looking ahead to the new year and passing the baton to some leading men, theatre will dominate in Q1 with two blockbuster plays from the National Theatre. Football-themed Dear England debuts at the end of January, starring Joseph Fiennes as England manager Gareth Southgate, followed by Fleabag’s hot priest Andrew Scott playing the entire cast of Vanya in February.

It’s becoming clear that audiences remain selective about which titles to see in cinema. More than ever, we need to harness that FOMO feeling and make it special, compelling, urgent.

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* JANUARY TO OCTOBER 2023. DATE RANE 6/01/23 - 2/11/23

November, and early December audiences can choose between

SPECKLE ON THE BIG SCREEN NEEDN’T BE A CONSIDERATION

Barbie on the iSense screen projected using NEC RB laser technology.

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SCREENING

The proliferation of laser projection in cinema has brought with it a number of complexities that didn’t exist with xenon. Whilst laser technology has a number of tangible benefits, many of which have been well documented in CT Magazine and across publications, conferences and technical white papers, some of the technical questions and indeed misconceptions still remain such as “all laser projectors produce visible speckle” and therefore “you can’t use a laser projector with a silver screen or a high-gain screen”.

Editorial Team, Cinema Technology Magazine

L

aser speckle is an interference pattern caused by coherent photon waveforms.

Lasers work by finally producing photons which

are

coherent,

the

same

wavelength, amplitude etc. The problem is when a coherent waveform meets an

obstacle which has a rough surface. This changes the phase of the waveform, essentially incidence / reflected light on a multiple tilted surface, it bounces at different angles. Resulted wave forms will either be opposites which cancel out (destructive - dark) or increase in amplitude (constructive light areas of visible speckle). The human eye perceives green more easily so speckle from a green primary appears worse.

Laser speckle produced by laser projectors (particularly RGB variants) can therefore cause a ‘disruptive’ viewing experience for cinema goers. Broadly speaking, higher gain screen surfaces, most notably silver screens, are affected most.

Current laser technologies & limitations There

are

ostensibly

three

different

laser

projection

technologies available. RGB, Phosphor and RB. RGB Laser, which is split into 3 or 6 primary lasers used to

generate colours (red, blue and green) with the 6P options using dual colours with differing wave lengths.

Laser Phosphor utilises two blue laser light sources. The first

blue laser light source unsurprisingly, generates the blue colour with the second blue laser light source used to excite a phosphor wheel which generates the green and red.

RB Laser is a half way house of sorts between Phosphor and

RGB. RB uses 2 blue laser light sources, one to generate the blue, one to excite a phosphor wheel to generate the green and a direct red laser source to create the red.

Laser phosphor projectors have the ability to produce between 6,000 and 25,000 lumens (as stand-alone solutions) in terms of light output. Whilst the technology doesn’t suffer overtly from visible speckle, the limitations on maximum light output and indeed manufacturer guidance on starting power levels means that even with higher gain screens, there remains a screen size limitation which means that large screens require a different technology. RGB is an ideal solution for those large auditoria but here, speckle is more likely to be prevalent meaning that the

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SCREENING trade off is a lower gain screen to reduce the visibility of speckle.

It was clear that laser speckle was not

This is where RB laser technology is potentially the perfect

an issue at all - even from front row seats

solution in allowing higher brightness output (closer to that of

situated around 11m from the screen or

RGB) with the lower speckle contrast ratio (seen in Phosphor).

indeed closer to the screen. Laser speckle

But is it theoretical, can it be done, has it been done and if

from the RB projector was only detectable

so what has been the real-world result? We travelled to Spain

to the trained eye, unlike with most direct

to take a closer look at one such deployment to see whether

RGB projectors where detectable laser

the theory matched the reality.

speckle can be obvious and disruptive to the cinema viewer, something that

The evaluation and the result

exhibitors deem unacceptable.

Auditorium #7 of the Cinesa Open Sky cinema in Madrid affords

For this specific auditorium, RB technology has proved to be

us the setting to combine RB laser technology with a high gain

a great solution in illuminating a very large screen whilst allowing

screen. The cinema, owned by Odeon Cinemas Group (OCG) runs

OCG achieve realise all the cost-saving reductions versus xenon

auditorium #7 as its own brand PLF “iSense” featuring an

(power, lamps, etc) without needing to add incremental capital

enormous 21.15m x 10.2m screen on a curved frame.

cost.

The

The other two options available would have been

auditorium features a combination of an NEC NC3541L RB laser

implementing a dual-projection phosphor-based system (to

projector with 35,000 lumen output on a 2.2 gain Clarus XC

generate sufficient brightness) or installing a high-powered RGB

screen from Harkness.

projector and mitigating speckle through a lower-gain screen. Of

Designed for premium and large format screens, the NEC

course following the RGB route would have meant incremental

NC3541L 4K cinema operators are, NEC claims, able to take

energy costs whilst the only other option to reducing speckle

advantage of both laser phosphor and RGB laser technologies

would have been the installation of transducers attached to the

resulting in a powerful projector which delivers compelling

screen which then adds complications and costs such as noise,

benefits in terms of cost, operational efficiency and immersive

equipment failures and maintenance offsetting the savings

image quality. The use of a red and blue laser light source goes

made. The RB solution with a high-gain screen has proven a

beyond the colour and brightness output of traditional laser

perfect blend delivering a host of benefits, not least minimal

phosphor cinema projection systems providing a brilliant image

speckle resulting in a spectacular viewing experience.

with high uniformity.

To give further context to the visibility of laser speckle, the

Left to right, Matt Jahans (Harkness Screens), Paulo Pereira and Mike Bradbury (Odeon Cinemas Group) and Alain Chamaillard (Sharp/ NEC Display Solutions)

(L) content and uniformity, (R) NEC NC3541L with RealD 3D System.

A thorough evaluation of the screen and projector

absence of a green laser diode meant that the speckle was

combination was carried out using a 2D white test pattern from

equivalent to the speckle effect sometimes seen on a silver

the server with a view to understanding the capabilities of the

screen with a xenon lamp-based projector; incredibly soft and only in the very narrow

technology mix (RB projector and high-gain silver screen) from a

centre of a hot spot, a huge win in guaranteeing audience satisfaction. Of course, as with

peak brightness and laser speckle perspective. To ensure the test

all projection systems there are trade-offs. Yes, this is a laser-based system that is

was relative to standard operating situations, the projector power

3D-enabled and it has little to no visible speckle, however due to the high gain screen

was set to enable a peak reflected brightness of 14fL (within the

there is of course a less centre-to-edge uniformity than might be seen using a lower gain

DCI specification of 14fL +/- 3fL). Once the technology had been

screen, but in this instance, this has been offset by optimising the screen and applying a

evaluated using a white test pattern, the system was further

gentle curve. Having evaluated the technology in a real-world setting, it is clear that for

checked using content from the Barbie Movie and particularly

large screens or PLFs, there may be an alternative solution to RGB and low-gain screens

bright and light content - the scenes which is almost always least

which removes speckle as a concern and perhaps even affords exhibitors to look at a

favourable and makes any laser speckle easier to see.

lower-cost solution that provides a faster return on investment.

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CINEMA S E ATI N G When it comes to seating, everything comes at a price and often with a compromise. It can be a difficult path to navigate particularly for smaller exhibitors. Over my many years in the industry, I have experienced working on hundreds of auditoriums and whilst I do not claim for completeness in my knowledge, hopefully this multi-part guide that will span the next few editions of Cinema Technology Magazine will provide you with some fresh ideas and considerations on your journey.

Markus Overath, Director, Cinema Technology Community

E

verything is a matter of perspective especially when it comes to

can work independently or together if you target the right

cinema seats, sightlines and style. But what matters most in a

customer base and know what you are aiming for. Several cinema

modern cinema environment? What exactly does modern mean?

chains (predominantly bigger ones) charge the same admission

Where do we start a project and how well prepared are we to

price and give customers the same level of comfort, but we need

invest in long-lasting seats? Do you know how much degradation

to ask why.

can happen to a seat with thousands of uses each year? Comfort,

Buzz words like ‘boutique cinema’, ‘multi-seat-zones’,

space, price, return of invest? What are the key aspects to ensure

‘sightline areas’, ‘family zones’, ‘moving seats’ suggest the opposite

it’s a balanced investment? There are so many questions

concept. The more variety and price differentials you want, the

exhibitors have and often very basic guidance is available, so let`s

more you need to demonstrate the quality of comfort, as well as

start with a simple set of questions one should ask themselves

the way these are marketed to movie-goers.

when looking to improve the cinema experience.

marketing, pricing and targeting, the multi-zone concepts offers

seating concepts. What should we look for? What is our style?

the chance to maximise seat prices whilst ensuring cinema is

What is the magic number?

financially accessible to all. For example, if your cinema is located

Concept vs. Compromise: Does one type fit for all?

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While the “one type fits all” approach has its beauty in simple

In this edition we will focus on the most common issue,

in a very family friendly or populated area with moderate income, you need to be mindful of affordability. If you have a customer base with disposable income that values the experience, you can

Should every movie-goer have the same luxury seat or do you

offer more than one type of luxury seat with different pricing.

want to have the most cost-effective seating arrangement with as

However, if you have a customer base that is comfortable with

many seats as possible? The simple answer is that either concept

your offering, you might consider using longer-lasting and high-

>

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PA RT O N E : S E AT I N G C O N C E P T S

quality fabrics rather than new seats and adjacent investments.

and give ideas but ultimately, it is you that must decide. But a

Of course, what we always want to avoid is the need to

solid platform of information can help. Is there a way to test

discount tickets because the movie goer perceives these as

concepts with the various customer groups in advance, perhaps

overpriced seats particularly where there is a single seat offering.

they don’t even care as they’ll be sat in a dark room. Dwell time

Instead, with the right information, various options can be looked

can be important so is there a way of identifying how long

at, VIP to standard and from family friendly to special experiences

customers are sat in the seat before, during and after a movie? Of

with space and comfort. The options and concepts are limitless,

course look to local competition, are they raising the bar or can

but inventing ”the price matrix” is the key to success and the

you develop your style which raises the bar?

biggest work everyone should do.

Whatever you think about this part of the homework it is

Every seat manufacturer will tell you their story and share

fundamental and your identity. The design of your auditoriums

experiences from other exhibitors, but does one size fit for all? Do

together with the holistic style of the entrance area, concession

we want all cinemas to look the same or can we be more

space, rest rooms, lighting, marketing and communication

experimental?

strategy on the website are all part of your identity. The amount

Do your homework

you are able to invest on seating need not be a deal breaker if the design and style is carried through the entire experience.

How integrated do you want the auditorium to be? Do you want

Typically the journey from lobby to seat is a short one in terms of

to align the wall covers, baffles, lighting and carpet with the new

time, so that first impression can matter just as much as the

seat design? What is your major focus?

quality and comfort of the seat.

Style, architecture and experience are the holistic aspects of new seating. External advisers can only provide recommendations

Given the repetitive use, and time they’re in use, seats have to last longer and provide more comfort than most other areas of

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2 5

Understand the local dynamics There is often a wealth of information from various sources available about the local area which may be changing both in terms of population and culture without you knowing or realising. These dynamics will have a huge bearing on the future customers of your cinema and their requirements.

You need to have a good understanding of this to ensure that you make the right investment because if you get it wrong, the return on investment may never materialize.

Do you really know your competition? How far away is the nearest cinema, what does it offer and is that offering comparable to yours? In some areas, the cinema may be competing with other entertainment experiences for consumer spend, for example, restaurants, bowling alleys, etc. What you are able to offer is often dictated by pure economics including staff wages, the quality and breadth of local supplies and the footprint of the building? Testing the competition in the local area may help you learn where your niche is, which in turn will the cinema, but remember a good overall impression is key to

often help provide direction on the seating concept and indeed

movie-goers coming back again and again. Neither a new

which will be most durable for your cinema.

projector nor or a new seat gets your audience back, if for example the smell of the carpet is unpleasant or the toilets dirty.

The space galaxy

It’s obvious really, but it does need restating.

One of the main focal points eventually is space. Some moviegoers prefer space between other like-minded patrons - perhaps

It’s great to have a vision, but a key barometer will be your

even those they’ve come with, whilst others like the coziness of

auditorium’s “heat map”. This will tell you everything you need to

sitting close to their group. Other movie-goers like the big screen

know about your conceptual ideas. It’s important to understand

and being surrounded by as many people as possible - to feel the

what percentage of visitors you have in most (!) rather than some

shared experience, whilst others prefer the small 2-seater in a

shows and what your most successful screeningsare no matter

private stylish cinema. There really is no happy medium. What is

which movie. Major releases can often make us blind to the

important to note however is that notionally a VIP-style seating

realities of day to day operation.

experience requires space – and typically at least 2m.

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i

PA RT O N E : S E AT I N G C O N C E P T S There are other considerations that affect the space and comfort you provide.

For example, your customers might

recliners or boutique seats are a fad, but they may only capture the imagination of the movie-goer for a relatively

demand space, and you might want to provide it for them with

short period of time.

recliners, but is that the right option if you’re unwilling or

on investment on a new concept versus the payback on a

financially unable to maintain the motors in the seats? Recliners

reliable classic style cinema seat (which will likely remain

often affect the cleaning budget for the auditorium too, not

relevant for 30 – 40 years) is worth bearing in mind. If you have

because they necessarily take longer to clean but actually

more than one auditorium, you may be able to try different

because the customer has an expectation of a cleanliness level

concepts as finances allow rather than committing down

associated with the higher ticket price.

one route for every auditorium. If you think you have all the

Every customer experience matters Experience matters particularly for those that are disabled. The old-fashioned last row position or first row corner seat model is

Weighing up the short-term return

data to hand and you really know your audience, then of course you can go full throttle and roll out a concept across the whole cinema.

unacceptable nowadays and often creates an uncomfortable

Financing

experience for these guests. We should perhaps understand

A project such as this isn’t necessarily cheap, but it can be

what the viewing experience is like for those in a wheelchair from

important for customers.

a sightlines and even audio perspective and factor in a better

through the pandemic recovery as welll as navigating the

experience in any new seating layout. There is a lack of awareness

continued surge in operating costs, it might be worth

within the industry of the type of solutions available for special

investigating if there are any governmental support schemes

groups but there are examples of great concepts in the UK and

available. Apart from the cultural investment funds in many

Scandics for disabled groups that are very promising.

countries, there are also a lot of supporting funds for

Short-termism or eyes on bigger prize

Whilst finances are stretched

accessibility or special cultural aspects.

Today’s trend may only be relevant for a short period of time.

This article is the first in a series. In upcoming editions

That’s not to say what exhibitors are deploying today in terms of

throughout 2024, we’ll look at other seating topics.

infinityseating_Layout 1 30/11/2023 16:42 Page 1

THE ARTISANS OF CINEMA SEATING

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www.infinityseating.co.uk

MAG’s brief history 2 8

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FOCUS

Cinema Technology Magazine caught up with leading highend audio equipment provider MAG to learn about the company’s fascinating history, its products and the difficulties of managing an international business in a conflict zone.

Peter Knight, Commissioning Editor, CT Magazine Product Design inside the MAG Audio factory.

M

AG is short for “magnet”, as the company’s first foray into the world of sound was through magnets. Ukraine used to be one of the leading world magnet

manufacturers,

and

Borys

Khasin considered it as a perfect idea to

start the business as he had knowledge, experience, and a team. A few years later and with a team passionate in music and audio technology, he had a vision to produce components for audio systems and with that, the company started to produce components for industry leaders.

In the early 2000s, Borys involved his young sons in the business. Leonid and Alexander were excited and ambitious to start the production of MAG’s own product range. In 2008 the focus of the business shifted from component supplier to manufacturer of professional-grade speakers, with a specialty in touring events and cinema sounds. Today, the company operates based on its full-cycle production factory in Bila

Who are MAG Audio?

MAG Audio’s is a

Tserkva and seldom uses components produced by other manufacturers preferring to produce its own high and low-frequency

drivers

based

on

the

company’s

proprietary technology.

Current Products

Ukrainian manufacturer of

Today MAG operates with three separate divisions: The

professional audio

first two divisions are MAG Audio, which produces

equipment with a

speaker equipment for professional-grade venues and

special focus on

tours, and MAG Cinema, which is focused on providing

cinema sound. Its

speaker systems for commercial cinemas across the

story begins in the

world.

1990s in Bila Tserkva

120 countries.

MAG’s equipment is installed in more than

City, Kyiv district. In the middle of social and economic transformations caused by the fall of the Soviet Union, Borys Khasin established one of the first commercial firms in Ukraine (“cooperative” using the terminology of the late soviet

1

2

3

MAG Cinema is known for its MAG THOR cinema subwoofer.

It’s unique frequency range of 18Hz to 120Hz with 145dB of SPL

Another key product of MAG is Tower screen system modular line array screen system for top-class cinema halls.

Coaxial surrounds

period).

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2 9

The newest division is MAG Theatron which produces professional audio systems for home cinema. MAG Theatron is

A View From The Top Alexander Khasin, CEO

MAG’s department dealing with B2C solutions. The main idea of the project is to deliver home cinema at the professional level.

Given the company’s focus on proprietary technology and components, MAG has developed both industry recognition for the quality and longevity of its products which has afforded the company the ability o offer warranties of up to 10 years on the equipment, perhaps the best evidence of how confident MAG is about the quality of its products.

The future/challenges After the Russian invasion of Ukraine, MAG undertook significant efforts to save the team (in every sense) and indeed the company. The operation was fully restored within 2 weeks from the start of the war. Despite there being significant sympathy and understanding from the industry to the plight affecting MAG, there has been no compromise on their dedication to quality products.

The MAG team remain

incredibly proud that in the face of adversity, they have not appealed to a force-majeure clause even once – though the team readily admit that at times, it took incredible courage, determination and spirit to keep going. Of course, the business had to undertake a number of logistical changes in order to continue business as best as possible. This has meant the creation of a storage and distribution hub in Belgium to provide clients with a level of confidence about their orders. At the start of the Russian invasion, the biggest challenge (aside from survival) was to prove to customers that the company was able to continue to operate, something which the MAG team have more than proven. The team at MAG remain optimistic about the future. While dreaming about peace in Ukraine, the company is working on the development of a unique solution for LED cinema screens, which it hopes to present in 2024.

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“MAG continues to operate as a

Ukraine” approach.

family business – it is not a universal

challenge with this is that the audio

model, but it gives the business extra

industry is conservative. We often view

flexibility, and the ability to make

it as comparable to high-end fashion

quick decisions,” explains Alexander

and luxury cars – so having a non-

Khasin, co-CEO.

The biggest

“What is more

European brand initially made it

important, my brother and I manage

incredibly hard to fit in. Moreover, there

different directions. Leonid is the

was no association with quality and

head of the manufacturing facility,

high-tech products with Ukraine of the

he is co-CEO of the manufacturing

early-2000s, so it took time and skills

process, and I work with sales and

to win a place in the industry.”

marketing. Our father is now 75

Though MAG is mostly focused on

years old and he still takes an active

B2B sales, the choice of audio provider

part in the business and provides

is linked to very personal preferences

guidance and support when it comes

and impressions. The team at MAG

to the most complicated decisions,”

often compare that preference to the

he adds.

luxury car world where each sound

Over the years, MAG has faced

professional has a favorite brand – and

various challenges, some of the key

it is not that easy to convince them to

ones surround the complication of

try something else, and indeed to like

marketing the business and its product.

something else. “It is a field of emotions

As Alexander explains, “The first of

in many ways. We tried different tools

them takes us back to the 2000s when

to try and circumvent the system. Years

we decided against the idea of

ago, I was certain that blind auditions

registering a trademark in Germany or

were a great way to prove the quality

France so that we could be perceived as

of sound from our products. In the end, I

a European manufacturer. At the time,

learned that it is helpful – even more so,

we chose to stay with the “Made in

if the participant of a blind audition

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FOCUS

(Left) The production processes at MAG. (Above) Tower Screen System and Stack.

chooses MAG as the best sound instead of

right

their favorite brand. We’ve often seen

configuration can be complex at times, so

people

even

MAG focuses on providing guidance on

disappointed. There has also at times

sound design to their clients to ensure that

been a bias against our products and a

every install achieves the desired results.

refusal to accept that simple errors such as

Whilst MAG believes they have many

the

surprised

clients’

confused

team

set

or

products

and

the

correct

equipment

competitive advantages, they recognise

incorrectly, because the product was from

the value of the people inside their

an unknown Ukranian manufacturer,” Alexander explains.

Because MAG is a much smaller business, the team constantly feels the need to focus on quality and innovation, in a way that they feel other audio manufacturers perhaps don’t need to.

“We

understand

those

perception

challenges and the best way to overcome those was to invest in quality. We made a commitment to producing products that are built to last and our 10-year warranty

business and invest heavily in supporting and growing their team. Whilst unknown to many, there are incredible engineering traditions in Ukraine and MAG benefits from

having

engineers

from

three

different generations in its team. The team continues to innovate by blending experience

(one

of

MAG’s

senior

development engineers specializing in electronics is 75 years old) and youth to create high quality products.

Having

is, we feel, a better way of conveying our

been in business for more than forty

confidence in the quality and robustness

years, the MAG team continues to look

of

our

products

explanation

about

than

perhaps

an

forward and an ongoing cooperation

the

quality

of

with Kyiv National Polytechnic University

components,” concludes Alexander.

enables MAG to identify the next

Key for the MAG team is ensuring

generation of talented engineers that will

that they work closely with customers to

help shape the future of the business and

achieve great products.

its products.

Selecting the

(Top right) Sphera auditorium in Athens featuring MAG speakers, (Bottom right) outdoor installation.

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A N A LY S I S

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With its roots in gaming, Virtual Production (VP) is a disruptive technology-led production solution that is set to disrupt the long-established workflows of the global film industry. Virtual Production (VP) is any area of production that can leverage realtime tools, extending or replacing the original workflow. It is also known as real-time VFX and has its roots in VFX. It was first used and developed by James Cameron on Avatar, although it now works for all production types. The TV series Mandalorian is filmed entirely in a Virtual Production studio, while features like Thor: Blood and Thunder and Bullet Train also had significant proportions shot in VP. In essence, it works by bringing the VFX element forward to the film shoot and allowing the director and actors to work within that digitally created environment in real time.

David Hancock, Chief Analyst, Media & Entertainment, Omdia

V

rtual production uses a studio space with a large LED display wall, and a gaming engine to drive the visuals that are being used. You could think of it as 21st century green-screen, much advanced, very versatile and non-linear. It is a growing

market segment and has the capacity to be highly disruptive to the film industry as it is set up now, as it reduces the need for

84x7m

VFX and post-production, set building, location shooting, travel and a substantial number of film set roles. Deloitte Global

UK’s Winnersh Studio boasts a whopping 84m x 7m LED screen

feature film (51% for a tentpole film according to Screen New

predicts that the market for virtual production tools will grow to $2.2 billion in 2023, up 20% from an estimated $1.8 billion in 2022, and one estimate raises this value to $5.2bn by 2030.

VP offers some clear advantages to film producers and the wider world. The environmental impact is one of them. The world’s first carbon neutral film, using global locations in one virtual studio, was shot for COP26 by UK’s Garden Studios. The film emitted one tonne of carbon, compared with 120 tonnes if the film had travelled to all locations that were used in the film.

A tentpole feature emits around 3,000 tonnes of carbon.

Reduced Carbon Footprint of Production Transport is the single biggest source of carbon emitted on a Deal report), and the energy-consuming nature of film production (travel, transportation, portable generators, set building, lighting) is high. While VP does use power, as the LED

screens are very large and gaming engines use a lot of processing power, there is little overseas transportation involved and throw-away sets are not needed as the visual

3k

environment is on screen. VP does also require a lot of manufactured equipment which also has a carbon footprint. This suggests that the environmental impact of VP is higher in the immediate short term but reduces significantly over the period of the shoot.

Virtual Production is technology-driven. The first technology needed is the LED

display. They vary in size according to the studio but the widest I have found will be

51%

Transport is the biggest source of carbon emitted on a feature film and 51% for a tentpole film

within the Winnersh Studio in the UK, which features a huge 84m by 7m LED screen (140 million pixels). The majority are around 25m wide and the highest are 10m but most are between 5 and 7m in height. The second element is the 3D gaming engine that drives the virtual environment, usually Epic Games’ Unreal engine, and less frequently Unity,

A tentpole production emits around 3,000 tonnes of carbon

which provides real-time rendered sets. The merging of gaming and film allows CGI characters to interact with real-life actors. The third element of technology is the

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33

A N A LY S I S

100

30%

cameras, which need to be motion tracking to make the most of

the LED screen. Motion tracking means the object is followed from the camera’s perspective, and the information is fed back

to the 3D engine, which renders the correct perspective of the scene. This way of working means that film locations and

The UK is an emerging hub for major Virtual Production studios, with 30% of global Tier 1 studios based in London alone in 2022.

infrastructure. For their part, film authorities probably need to

animated characters can be built into the gaming engine and

pivot towards a hybrid approach, encouraging investment into

used in real time in the studio. VP has a significant impact on the

VP studios, technology and skills (of which there is a major

workflow of film production and the skills needed. The most

shortage)

visible is the fact that the post-production element of a film is

infrastructure, whilst encouraging existing suppliers to move

greatly reduced as much of that process is being done either in pre-production or in real time during the shoot.

Virtual Production (VP) can significantly reduce costs of film and TV production, with little reduction in quality that may have been the case from poor quality CGI/VFX in the past (although it

is also possible for the VP environment to be poor quality too if the pre-production set building is not done properly). One FX supervisor has stated that a movie can do for $25m what did cost $100m by using VP as a production method, rather than a location set and VFX. This is down to the lower budget needed for VFX down the line and fewer people needed on set. The

there around 100 financing and tax credit and/or rebate systems for filmmakers globally.

5-7m but most LED screens range between 5 and 7m in height.

within

its

existing

studio

and

production

towards greener solutions for producers that still wish to shoot on location or in studios.

How VP Might Change Production The rise of Virtual Production is certainly an existential threat to existing film studios. The sprawling backlots, water tanks, sound stages, production offices and locations are expensive to build and maintain, and the cost of getting to a particular studio is also a financial and environmental cost. The VP studio avoids many of these downsides. Producers will still be attracted to location shoots, for reasons such as authenticity, so film studios will need

shoot is also shorter (anecdotally, 30-40% more script pages

to invest to make their sites as environmentally friendly as

were finished each day on The Mandalorian compared to a

possible and build VP stages as part of an overall package. New

traditional shoot) as factors such as weather didn’t hold up

studios (Electric Owl in US, Tage in Portugal) are being conceived

production, which also contributes to lower costs.

as green environments and provide an argument against the

For the VP service provider, set-up costs are still high, so

advantages of VP studios. The Electric Owl studio in Georgia

some companies offer bespoke virtual studio construction as

open in June 2023, conceived as world’s first LEED (Leadership in

and when needed but the trend is towards a growing number of

Energy and Environmental Design) Gold certified sustainable

static virtual studios being built and opened. According to the

facility and a second sustainable studio is being built in Tage in

UK’s Creative Industries Council, the UK is an emerging hub for

Portugal. This approach enables producers to minimise the

major Virtual Production studios, with 30% of global Tier 1

carbon emissions in their productions while retaining the ability

studios based in London in 2022. VP studios can form part of a

to travel if the script and project require it. As a new way of

wider studio complex, so traditional and VP film production are

working, one of the obstacles to VP’s development will be the

not mutually exclusive even if they are competitive.

lack of skills in this space, even if the number of VP studios is

The Advantages to VP

rising. VP specialists are recruited primarily from gaming and film, which will contribute to the increased merging of these two

Traditional film production is driven by financing and tax credit

sectors, as the IP from one is exploited in the other. However, the

and/or rebate systems for filmmakers and these have been

skilled technicians required to exploit the new techniques in VP

growing over the past 30 years, to the point where there are now

fully are scarce, making the path towards

around 100 such schemes around the world. They form a major

full-scale use of VP longer.

plank for attracting film and TV production into countries for

Virtual Production is an exciting new

government treasuries and film authorities due to knock-on

way to build a film project, offering new

multiplier effects from a film production. However, there is an

creative paths for film and television, but

inherent tension between shooting on location or in a studio

also a flexible, non-linear, and more

the traditional way, motivated by the tax benefits on offer and

efficient shooting process. What up until

shooting in a VP studio. The latter is significantly cheaper than

now has only been possible using VFX

location/studio shooting but can produce similar results. VP can

after the filming process is done, can now

be more efficient in terms of days needed, the weather is always

be achieved on set and for lower cost. It

suitable, and the process is non-linear so different parts can be

certainly has the capacity to be harmful

worked on in a more effective manner. Added to this the

to the existing film infrastructure that has

environmental advantage of a VP shoot and VP becomes an

been built up over many years, but the

attractive option to push. The resulting drop off in location/

old ways have a challenger that is leaner

studio shooting, having built up the required infrastructure,

and greener. It offers producers more for

studios and skillsets, could be very damaging to the film

less and that is often a winning formula.

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SUSTAINABILITY: at the very core of Savoy’s business values

Savoy Cinemas, with a footprint of six unique and individual multi screen cinemas located in the heart of urban communities in the Midlands (UK), is committed to promoting sustainability in all aspects of its operations.

Tim Potter, Founder, Trigage

T

here

is

a

commitment within the business to

halving

its

1 Culture Savoy has a great staff culture where every

combustion produces CO2.

individual has a role to play. As such the plan the

W aste needs to be managed better – the South

business is putting in place to reduce carbon

China Sea is becoming very full!

work towards achieving net zero by 2050.

footprint entails working together with all

E nvironmental issues are rising higher on the

To achieve this goal, the team is

employees to explore initiatives that encourage

public agenda and legal requirements will

developing, alongside their sustainability

sustainable practices across the operations. A

follow soon.

consultancy Trigage, a comprehensive

Director responsible for Sustainability and a

C ollectively the team needs to work together to

Sustainability lead have been appointed to

achieve some of the above objectives.

ensure there is accountability for their actions.

T here is a requirement to combine environmental

During October, Trigage facilitated a workshop

sustainability AND produce significant cost

carbon

footprint

by 2030 and to

plan that encompasses four target areas: Culture, Buildings, Retail and Suppliers.

The plan will outline the current state of Savoy Cinemas and the actions they are

with Savoy’s head office team, cinema managers

saving.

and deputy managers.

The workshop included themes such as ‘Balancing

taking to promote sustainability and

The purpose of this was to highlight that:

the Climate Crisis and the Geopolitical Landscape’,

reduce carbon emissions with one

T he continued use of fossil fuels is not

‘The Big Fat Carbon Quiz’, ‘Savoy in 2050’ and

overarching condition - that the actions

sustainable – what with limited resources,

break out workshops to create some smart

have to be economically sustainable as

geopolitical macroeconomics and that

initiatives to build into the action plan.

well as environmentally sustainable.

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GREEN SHOOTS

2 Buildings CINEMA PROJECTION Savoy has already taken a bold step by converting all its projection technology from xenon to laser in sites owned

by Savoy, a first for a UK cinema chain. This move has not only significantly reduced carbon emissions, but has seen a 75% reduction in projection energy costs.

LED LIGHTING All tungsten has been replaced with LED lighting - which is known for its energy efficiency and long-lasting performance - for lighting auditoriums, public spaces, staff rooms and film publicity displays. Also the front billboard of the Nottingham cinema has been converted.

HVAC Recycling HVAC, through a system that recycles air, reducing the need for fresh air intake and ultimately reusing heat. These systems intelligently sensor the levels of CO2 in the auditoriums and ensure the correct mix of fresh and recycled air. A large portion of the Boston sites carbon emissions comes from gas heating, and this system is currently undergoing a significant upgrade which will dramatically increase efficiency.

BUILDING MANAGEMENT SYSTEMS Savoy has leveraged TMS automation to manage the power on and off of sound, vision and lighting in auditoria.

PIR sensors have also been installed to

automatically switch off lights in back-of-house spaces.

One of the tasks for the coming year is to evaluate what other software and hardware solutions can be implemented to further automate energy consumption through the cinema.

Savoy Cinemas Worksop

INSULATION A number of Savoy’s buildings are relatively new and follow recent building regulations. These are thus well insulated and this can be seen in the CO2e charts later in this article. However, Savoy will be further evaluating solutions to find creative ways to further insulate older buildings, especially the 1930s built site in Nottingham.

There are some challenges to overcome, for example external walls that cannot be clad and a ceiling that has air ducts and wiring that need access for maintenance.

WATER Water-saving devices such as low-flow taps, dual flush cisterns and waterless urinals have been installed to conserve water. Rainwater harvesting will be evaluated as a potential solution to provide water to cisterns and urinals.

Savoy Cinemas Nottingham Signage

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3 Retail ENERGY To ensure that energy consumption is monitored and

Savoy is reviewing food sourcing with

provide customers with Savoy branded

optimised, Savoy has installed half-hourly electricity

the aim of using, where commercially

reusable cups and popcorn containers -

feasible, local suppliers.

this will be evaluated in the coming

meters. This allows the team to track energy usage and identify areas where they can further reduce energy

Single-use plastics have become a

months. A waste management program

major concern for individuals and

pilot has started with a trial of recycling

that offer a combination of competitive pricing and a

organisations

plastics,

points at the Boston cinema. These

provision of renewable energy sources and investment

including straws, cups, and popcorn

recycling points are advertised through

in such resources.

containers, have been identified as a

an on-screen message to customers. If

significant contributor to the global

successful, these will be rolled out

waste crisis. Savoy has already taken

across the estate. The first feedback

steps to ensure that many of these items

from the recycling trial

are now, or soon will be, recyclable. One

going to need bigger bins”. Sounds like a

idea that came from the workshop is to

quote from an infamous film!

consumption. The team are also evaluating energy suppliers, with the ultimate goal of selecting providers

SAVOY NOT TINGHAM The Savoy Cinema Nottingham on Derby Road is the only surviving pre-war cinema in the city. It was the first cinema in the UK to install a licensed bar and opened in 1935 with the Dick Powell film Flirtation Walk. At the

alike.

These

was “we are

time there were 52 cinemas operating in the city! This cinema was built according to the construction norms of

4 Suppliers

that time when sustainability was not a consideration.

Nonetheless, Savoy Nottingham now uses modern sustainable technology, HVAC and insulation throughout

Savoy will be working with film distributors and

and as previously mentioned Solar PV recently installed

advertising providers to understand the carbon impact

on its roof.

of the production and distribution of content projected on their cinema screens, displayed on posters and digital signage in their foyers. They will jointly explore how this impact could be mitigated.

The team will also be engaging with suppliers for all aspects to collectively mitigate the risk around carbon emissions especially embodied carbon in capital purchases and buildings being developed.

(L) Solar PV on the roof of Savoy Cinemas Nottingham. (B) LED step lighting.

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GREEN SHOOTS

5 Carbon Footprint One of the early big undertakings on this project was to

For the purpose of creating an emissions baseline there are

assess Savoy’s carbon footprint. A baseline was required so

two large impact areas that sit within Scope 3 emissions

targets could be set. Carbon footprint is measured in CO2e.

which require further work with Savoy’s supply chain to be

CO2e (Carbon Dioxide equivalent) is effectively a measurement

able to report on:

of all greenhouse gases that create issues for our atmosphere

C O2e from the production and distribution of food, beverage

and have a direct impact on global warming. Usually measured

or the embodied carbon for materials used in the cinemas

by weight - kgs or tonnes. The GHG Protocol, set up as a global

(anything from popcorn containers to steel).

C O2e from the production and distribution of filmed content.

standards body for measuring greenhouse gas emissions, has three scopes of CO2e:

The plan is to understand more on these two activities in readiness for next year’s update.

SCOPE 1

What Savoy has included, where others might not, is audience

Direct Emissions from fuel combustion - either through burning

travel. This was included because firstly, through a

of fuels for heating or cooling or for company-owned vehicles.

comprehensive travel survey, a good estimate could be prepared and secondly there are some small actions that can

SCOPE 2

be taken to help customers make a sustainable choice when

Indirect Emissions from electricity you purchase for your own

travelling to the cinema. Nottingham even has its own bus

use.

stop! The significant CO2 emissions across the three scopes is split across the 5 reporting cinemas, four emissions groups,

SCOPE 3

top emission types and modes of transport. Please see below

Indirect Emissions through waste disposal, audience and

for a breakdown. Also separately measured for the last

commuter travel, products purchased, supply chain etc..

normalised year 2019.

S AV OY C I N E M A S CO2E IN TONNES C02 SPLIT PER CINEMA IN TONNES

6 Action Plan The final piece of the jigsaw is to prepare

C02 BY EMISSION CATEGORY IN TONNES

a comprehensive action plan detailing the next steps to net zero. The action plan is set and then developed over time as

WASTE

WORKSOP

Savoy, Grantham

each initiative comes to fruition. The plan

120

158

will outline the steps to achieve the

BOSTON

275

BUSINESS TRAVEL

23

NOTTINGHAM

159

sustainability goals. This includes setting AUDIENCE TRAVEL

333

ENERGY

211 GRANTHAM

targets for energy consumption, waste reduction, and carbon emissions, as well as implementing new technologies and

DONCASTER

practices to achieve these targets. At this

110

point Savoy starts to engage with its

134

stakeholders, including the remainder of their employees, customers, suppliers,

C02 BY TOP EMISSIONS IN TONEES

C02 BY MODE OF TRANSPORT IN TONNES

landlords and local authorities to ensure that their sustainability efforts are aligned with everyone’s needs and expectations.

74

120 GAS

The ultimate objective is to get to net

LOCAL BUS

LANDFILL

LOCAL BUS

74

TRAIN

66

5

ELECTRICITY

145

TRAIN

5

CAR

278

CAR

278

zero emissions by 2050. Savoy Cinemas’ plan will be an ambitious effort to start this journey and to promote sustainability in all aspects of their operations. By focusing on Culture, Buildings, Retail and Suppliers they are taking a holistic approach to sustainability that will help achieve their goals and contribute to a more sustainable future for all.

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F E AT U R E

C I N E M A E N T E R TA I N M E N T C E N T E R S :

A NEW ERA

Cinemas have long been a place to go with friends for enjoyment, escape and to take a step out of normal life. As social hubs, cinemas draw us in but the tradition has always been to sit in a line and not be social. With operators looking for means to capture new revenue from outside of Hollywood, a new way to be social in the cinema is emerging, the cinema entertainment center (CEC).

Theresa English, Principal, TK Architects

C

inema entertainment centers are deeply rooted in the desire of younger generations to spend time outside the home in social activities. Adding other amenities to a cinema provides guests with multiple options under one roof for spending time

together. There are so many options for what those activities are and these can tailored to the specific market.

Here are a few: Bowling Arcade/Redemption Games Duck Pin Racing Sims Laser Tag Ropes Course Climbing wall Darts Axe Throwing Dark Rides Mini-golf Bumper cars—even ones that flip upside down! VR Go-karts Trampolines Outdoor games

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This list barely scratches the surface of options out there and of course, always more F&B is important. One of the beautiful aspects of a CEC is the appeal to a broad demographic. They work well for families, teens, young professionals and adults because of the bevy of choices.

CECs quickly become the

entertainment destination in a community with long dwell times leading to increased profit.

There are three ways to create a CEC: C onvert an existing cinema to reduce screen count and add new amenities Expand a right sized cinema to become a CEC Build a new purpose designed building

Converting an existing cinema

Build new Let’s start with the easiest: Building new. This gives you the flexibility to right size all the different components. Structure

This approach is a blend of challenges and benefits but is especially appealing

can be located as you need. You can control the amenities you

for over-screened locations. The first question is how many auditoriums are you

include and arrange them in an order that works for your ideal

keeping and how many are you demolishing?

guest experience. Deciding on the ordering may be the hardest part of designing a new facility. For new builds typically we are seeing 6-10 screens including diverse offerings in screen size including VIP and PLFs.

12-20 lanes of bowling, arcade

redemption games and up to 6 other amenities. Don’t forget to include outdoor amenities.

Mechanical, Electrical and

Plumbing Engineering are pretty straight forward. The kitchen is a crucial aspect within the CEC.

based on their market. Armed with that information they can work with the architecture and engineering team to determine the feasibility and where the amenities will fit.

BENEFITS OF CONVERTING AN EXISTING CINEMA INCLUDE: Pre-existing roof and walls H igher ceilings providing fewer constraints for the amenities an exhibitor can consider Potentially accelerated construction due to starting from a dried in building Customers already know the location With careful planning, the site can stay open during construction

Right size plus expansion Expanding an existing building can be a great option. If the theatre is blessed with a vacant piece of property adjacent or if the theatre has converted to recliners and no longer needs as much parking these create opportunities for the expansion.

Exhibitors can work with

consultants to help determine what amenities their facilities should include

When thinking about expansion, the guests

CHALLENGES WITH A CONVERSION INCLUDE: Limitations imposed by demising walls, especially if these are precast, icf or concrete rather than columns.

Demolition and getting the large equipment into the building to effectively be able to take down the steel from the stadium structure and getting the large pieces out of the building.

should enter and exit through the entertainment area. This

Mezzanine columns—some amenities, like bowling, for example, are

encourages them to come earlier or stay after the movie or

constrained to a certain size. This may necessitate relocating some columns

simply come just to enjoy the new attractions. How are the

and new beams.

two parts connected?

Working through the balance of what floor needs to be demolished and

This takes careful planning and

consideration by the structural engineer.

What are you

punching through? Is there x bracing? Is there a roof step and how does that load transfer if you open up under that step. How does the new massing work with the existing façade? Connecting the roof planes and working through

poured back at a different elevation vs areas where it may be easier to raise the floor to a new level or match to a level and avoid some demolition.

Determining if the existing structure can support or needs to be reinforced for any new roof top units.

modifying how the roof drains work is critical with an

Conclusion

expansion. The new structure may require specialty footings

One of the most critical aspects of a conversion project is involving the general

when against the existing building.

When considering

contractor early in the process as an engaged team member. As decisions are being

expansions knowing where the underground utilities are

made about approaches and areas, especially if multiple options are investigated, they

located within the site is important before locating your

can provide insight as to the more cost effective choice for construction. Any of these

expansion. Having to move a sewer line can be costly. Also,

three approaches lead to a new kind of cinema for exhibitors with high ROI and less

with expansions and more disparate uses, if restrooms are

dependence on Hollywood content and release windows.

added, checking to see if there is fall for the new drains is a

destinations to be social and enjoy the escape that movies provides. While news stories

consideration. As architects and engineers we work through

will continue to toll the death of cinemas, (like they have for a hundred years) cinemas

all these questions to help exhibitors navigate through to

will continue to evolve into new spaces where people of all ages enjoy gathering and the

creating a great cinema entertainment center.

art of storytelling.

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Cinemas become

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F E AT U R E

BEYOND BLOCKBUSTERS:

How cinemas are redefining the entertainment experience Patrick von Sychowski, Digital Marketing & Communications Manager, CinemaNext

Would you go to the cinema to do something other than to watch a film? At a time when streaming services are changing how viewers consume content, some cinemas are rewriting the script on what it means to step into a movie theatre. The Light Cinemas in the UK stands out as a trailblazer in this regard, pioneering an innovative approach that goes beyond traditional film-watching for a fun night out. With bowling alleys, darts, mini golf, karaoke, climbing walls, and an array of other entertainment options, The Light Cinemas is leading a small cinematic revolution. It’s not the only or even the first one to try this, but as blockbuster releases are delayed or postponed, it is demonstrating how cinema can evolve beyond relying on the vagaries of an uncertain film slate.

The Light Cinemas: Elevating the Entertainment Game To understand what is meant by the idea of a cinema offering ‘more than movies’, it is worth visiting one that has gone all-in on the concept. The Light in Redhill, south of London, opened on June 16th this year. It is the 13th venue of the operator and offers six premium screens and an array of 11 activities, as well as several food, drink, and concession areas over the 45,000 square feet (4,180 square metre), two-storey facility.

The entertainment venue is located on Redhill’s High Street and forms part of the multi-million-pound regeneration of the town centre being led by the local Reigate & Banstead Borough

(Left) Arcade and (Above) the entrance to the karaoke booth.

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Council. Speaking to the local Surrey Live newspaper at the opening of the site, the Mayor of the Borough of Reigate and Banstead, Cllr Eddy Humphreys said, “I have no doubt that this will further transform Redhill’s High Street into a vibrant destination that people from across Surrey will want to visit.”

It is this ambition that cinema can attract a wide variety of people throughout the week, rather than just film fans on weekends when there is a popular film on release, which is driving The Light and other operators to broaden the entertainment proposition. A recent study by British Film Institute (BFI) and Creative Industries Policy and Evidence Centre found that cinemas deliver ‘significant and positive wider value to society’, equivalent to £600,000 per cinema per year. With more than just films to attract people, that means the figure could easily reach well over £1,000,000 in terms of an annual cash injection into the local economy. The Light Cinemas, with its tagline “More Than Just Movies,” has long had a vision of redefining the cinema landscape.

no Climbing Lite, but the real thing. The mini golf area is compact

This UK-based chain was founded on the idea of turning movie

but makes up for it with ingenuity and clever movie-tie ins for

nights into full-fledged entertainment experiences. The inclusion

each hole. Chatting to the staff they attested to how busy it gets,

of shuffle boards and karaoke rooms alongside traditional movie

particularly on weekends and especially now in the run-up to

screens is slowly changing perceptions about what a trip to the

Christmas. Even on the weekday noon time of the visit there were

cinema entails. Co-Founder of The Light Cinemas, Keith Pullinger,

at least a couple of people playing at almost every attraction.

shared his vision in 2021 ahead of the opening of The Light

Redhill locals are really spoiled for choice here, even before we

Banbury, the second site to feature a separate section with

get to the cinema.

boutique bowling and more, “We see this area as a separate business almost. We want to see this as a real destination for the

A Luxury Cinema Too

town. We saw an opportunity... to create a whole new

All these attractions would be less impressive if the cinema itself

entertainment space. We see this as an offer in its own right.” Co-

was not of the highest standard. No compromises were made

founded in 2007 by Pullinger and John Sullivan, The Light has

here either. As soon as you approach it, you are greeted by a small

always worked closely with local councils and positioned itself as

but lovely touch; a collection of hand-written and beautifully

an ‘anchor’ to attract people, particularly at a time when high

decorated signs of What’s On films. The corridor neatly signposts

street retail is being challenged by changing consumer habits.

each screen. Inside the auditoriums there is a choice of three

Would You Like Popcorn with Your Ten Pins?

Approaching The Light Redhill, there is only a small sign sticking

diverse types of seats in the front, middle and back, offering various degrees of reclining, from loungers in the first row to recliners in the back.

out, but the windows have big light displays proclaiming FILM –

With high quality in mind, CinemaNext completed the design

BAR – FOOD over an LCD screen with trailers and posters. Round

and installed the projection and sound in the six brand-new

the corner and the message becomes CLIMB – SWING – THROW.

screens, with two of them being 3D, for a total of 548 seats. On the

It is brought together by The Light’s tagline of MEET + WATCH +

technical side, the install was a combination of NEC Laser

PLAY. Entering the premises, you are greeted, not by a box office

Projectors, MAG Audio amps, speakers

or a popcorn counter, but by a large and welcoming bar with signs

and subs, Harkness Perlux HiWhite and

of Pizza, Burgers, Wines, Cocktail and Beers. No mention of films,

Clarus XC screens, Williams IR HOH and

but the ambiance immediately draws you in. There is stylish and

Volfoni 3D. There are also nice touches in

comfortable seating on either side. Off to the right there is an

terms of auditorium lighting. wThe staff

arcade area, with its flashing lights and sounds enticing visitors.

are equally helpful and enthusiastic,

Beyond it there are pool tables, a generously sized bowling area,

which is another sign of a well-run cinema.

with a kids double bowling lane and small karaoke rooms tucked

Whilst leaving the auditorium a jumble of

away between. On the opposite side there is everything from

toys are visible in a corner – there was a

shuffle boards and darts to axe throwing.

parent and baby screening earlier and

The sign for the upstairs section promises Cinema, Adventure

even the smallest cinema patrons are

Climbs and Action Shots! There is another long bar, this one more

entertained

concessions-focused, with a pick-and-mix opposite and seating

screening, even if they are more likely to

between. The climbing wall is both high and challenging – this is

crawl than climb any walls.

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Ten pin bowling.

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before

and

after

the

Climbing Wall.

F E AT U R E the industry to move beyond traditional cinema models and offer diversified, revenue-generating experiences that others such as B&B Theatres in the US, The Light in the UK and visionary operators such as Korea’s CJ CGV (a pioneer in its own right in re-thinking what a multiplex – or as they call it ‘Cultureplex’ - can be).

Taken together, these initiatives signify a potentially seismic shift in the cinema industry, signalling that cinemas need no

Pioneers Around the World The Light might be perfecting the ‘more than movies’ concept, but

longer just be a place to watch films. They are becoming hubs of entertainment, offering diverse experiences that cater to a wide range of interests.

they themselves would acknowledge that they were not the first

As the industry navigates changing audience expectations,

to pioneer it. It is pointless to argue who was first, but prior to the

cinemas are thus embracing the challenge, bringing a sense of

pandemic, two exhibitors in particular were working actively to

adventure back to movie-going. Whether it’s scaling a climbing

widen the entertainment proposition and revenue potential of

wall, knocking down pins, or catching the latest blockbuster, the

the typical multiplex: Canada’s Cineplex and Australia’s Village

modern cinema as demonstrated by The Light Redhill and its

Cinemas. Both companies are actively diversifying their offerings

brethren across the world is an all-encompassing entertainment

to transform their cinema complexes into all-encompassing

destination. Cinema purists might turn up their nose, but cinema

entertainment destinations.

has survived for 125 years by being a continuously evolving

Village Cinemas, with its ‘50% goal’ strategy, aims to generate over half of total revenue from sources outside Hollywood box

medium. And anyone who doesn’t fancy wall climbing can just go straight to the screening.

office. Adrian Witcombe, Head of Strategy & Innovation for Village

So, the next time you plan a night out, consider the cinema.

Cinemas, emphasised growing the overall offering rather than

Cinemas are not just about the movie—it’s about the entire

abandoning Hollywood dependence. By expanding food and

experience, where the proverbial reel meets the real, and

beverage (F&B) options, introducing Vjunior children’s screens,

entertainment knows no boundaries, scaling new heights (with

adopting 4DX experiences, and investing in event cinema, Village

safety ropes attached).

(Left) Full service restaurant, (Below) concessions offering and entrance to the auditoriums.

set out a strategy to evolve into Village Entertainment, focusing on creating a comprehensive entertainment experience beyond movie screenings.

In a similar vein, Cineplex in Canada has sought to cover all aspects of a customer’s night out, moving beyond traditional box office dependence. CEO Ellis Jacob envisions customers spending an entire evening at Cineplex, stating, “We basically want to own your entertainment dollars.” Despite challenges, particularly during Canada’s extended Covid cinema closures, Cineplex’s diversification is paying off, evident in increased annual revenue.

By enhancing concessions, developing gaming rooms like the Rec Room concept, partnering with Topgolf for driving range facilities, and teaming up with VRstudios for Virtual Reality (VR) arcades, Cineplex is expanding its entertainment ‘portfolio.’

Combining gaming, dining, and live entertainment with traditional cinema offerings, the Rec Room has been promoting itself as a playground for all ages. Sarah Van Lange, Executive Director of Communications at Cineplex, told Medium as far back as 2017, “first and foremost, we are a film exhibition company and an entertainment destination, but people may not know that we’re also a digital signage company, an eSports company, and one of the largest food service providers in Canada. We’re much more than just movies so it is our diversity that ensures that no two days at Cineplex are ever the same.”

These initiatives, driven by a customer-centric approach, have demonstrated the viability of the cinema industry shift towards creating a holistic entertainment experience. Both Village Cinemas and Cineplex serve as pioneers, setting a precedent for

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WHY

A HIGH-END CINEMA IN A SMALL TOWN...

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LIVING ROOM CINEMA

...CAN BE FOR EVERYBODY How the Living Room Cinema works with the community to make everyone feel at home.

Patrick von Sychowski, Marketing & Communications Manager, CinemaNext

T

wo screens is considered ‘ideal,’ but - not

From Hardware to Homeware

to blow my own horn - the one screen I

“Chippy feels like it never fulfilled its potential,” says Claire.

program damn well. Two screens is

“Everyone knows Soho Farmhouse, the Cotswolds, and the

actually a bigger expectation,” says Claire

Bakehouse, which is very Instagram friendly.” But there is an odd

Beswick, co-founder of The Living Room

mix of shops on the high street – with Quality Discount nestling

Cinema (LRC), which opened its second

next to designer plant shops. “Yes, there’s affluence and poverty,

operation - with big expectation - in the town of Chipping

but also a middle ground. We wanted to do something for

Norton (Oxfordshire this summer. The single screen she is

everyone, without losing our identity.”

referring to is the first Living Room cinema in Liphook, which

Plans for LRC ‘Chippy’ began even before LRC Liphook had

opened in April 2022 and has been an immense success since

opened. The result is a delightful two-screen cinema, one with

day one (reviewed in CTM September 2022). It is now joined by a

40 seats (Screen 1 downstairs, screen size: 6m x 2.51m) and a

two-screen sister site. So, what is different in ‘Chippy’?

second with 48 seats (the narrower Screen 2 upstairs, screen size:

The Living Room Cinema pitches itself as “Quality films in

4.81m x 2.6m). Both have loungers at the front, sofas in the back

intimate surroundings. A welcoming home from home, at the

and regular seats between. Rather than a traditional cinema seat

heart of your community,” explains Claire. With boutique

supplier, a contract furniture manufacturer called Derry in

cinemas currently being very much in vogue, both in UK and

Northern Ireland was used. For public areas, regular household

abroad, LRC manages to set itself apart from others by not

furniture that was bought was re-upholstered and made fire-

feeling like an Everyman/Curzon/Tivoli clone, instead having

retardant, to comply with safety regulations.

more of a 1 Hotels vibe. There are plenty of plants everywhere,

The design was made in-house with Claire’s business

books on cinema and furniture that looks like it could be

partner, award-winning film producer Nicole Carmen-Davis,

from a trendy home. But it is the engagement with the

who hails from this part of the country. There is a terrific attention

community that really sets it apart, demonstrating how small

to detail, which does not simply copy other art deco-inspired

upmarket cinema can work in smaller towns and specifically

interior trends. Vintage pieces, such as a mid-century modern

not just catering to an ‘upmarket’ clientele.

side table, were sourced from eBay. The ironmongery is the

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From left to right: Exterior of LRC Chipping Norton, in-seat tables and inside one of the cinema’s two auditoriums.

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same as the brass on the handles and elsewhere. It has a bar and café that would not look out of place in a trendy London boutique hotel. There is also what is probably the most luxurious disabled toilet in any UK cinema. No less attention was paid to the technology behind the scenes. Projectors are NEC NC1202L with a Dolby IMS3000, suspended from hush boxes in the ceiling.

Processors are QSC DCP 300 with one MAG AOH-6800 Amplifier for each screen and MAG Audio speakers/subwoofers. Screens are from Harkness and the TMS by UniqueX. Claire and the team had 11 weeks after taking over the shell of the building, with Sound Solutions doing the kit-out. “When you build a cinema, there are so many companies involved in the fit out at the end and it is crucial that they all gel. It’s a small part of the industry, and you want a team that work well together,” Claire reflects. “I had a very positive experience with all of my fit out specialists in the first cinema and was keen to ‘get the band back together’, so to speak. Jordan [Bedding] and I had previously worked together at Curzon many years ago, and so it really was a no-brainer for me to pick up the phone to CinemaNext once again”.

DCM supplies the cinema advertising, and the cinema will get Movie Transit later this year, which is already in place in

farmer Jeremy Clarkson. LRC also designs its own cocktails, such

Liphook. Rosie Mulford, the attentive Marketing and Membership

as the Chippy & The City (aka Cosmopolitan), as well as popular

Executive at LRC, also highlights the good relationship with POS

classics such as Espresso Martinis and Old Fashioned. There are

and ticketing partner Admit One. “We have fast become one of

movie-themed cocktails, such as Top Gun: Maverick’s ‘Maverick’

their favourite clients,” Rosie says. “Demanding, sure, but we

and ‘Iceman,’ the latter proving so popular it stayed on the menu

helped them develop their product. At first, we were the

even after the film. For Halloween there was a red Rocky Horror

annoying women, but now we are not so much the problem

Picture Show cocktail. There was a popular Barbitini and Pink

child. They have developed new bits to have for us.” The staff are

Pina Colada, as well as pink Mocktails for teenage Barbie fans.

friendly and efficient in getting the right order to patrons in both

Claire reveals that the cinema sold more bottles than glasses of

the lobby and the auditoriums.

rosé wine for this summer’s big hit, but as far as film-and-food

Local Coffee, JC IPA, and Rose by the Bottle As with all boutique cinemas there is a big focus on F&B and

pairings, she was not a fan herself of last summer’s Elvis hotdog.

But pizzas are planned for when the LRC Chipping Norton expands its food offerings.

given the ‘competition’ on the High Street, there is an

Community, community, community

understandable need to excel in what it must serve up for all the

In a sign of how quickly LRC put itself on the Chipping Norton

senses of the patrons. It is also here that the community

map, some local pubs already offer pre-theatre/cinema menus.

engagement starts to shine through, not least as the cinema has

Far from seeing this as F&B competition, Claire says “we want to

rapidly become a destination, not just for films but also for those

work with them.” The LRC team could have taken the easy route

who just want a good capuccino.

of leaning into the ‘Chipping Norton set’ of celebrities, but “that’s

“Coffee trade is growing,” Claire acknowledges. “We are

not who we are,” Claire affirms. “We’ve created something for the

working with Stow Coffee, a local coffee supplier that roasts and

community, not for those with second homes in Chipping

grinds its own coffee, run by a

Norton.” They realised that the town

husband-and-wife team.” This is just

had lots of people who had moved

one example of the local business

out of London and missed not having

community engagement. “We work

the ‘London experience,’ in terms of

with local suppliers whenever we

things they can do. “But there are lots

can,” says Claire.” Yes, we have Jimmy’s

of locals who don’t go to the South of

Popcorn, but we try to support local.”

France. We wanted to provide a great

This includes a famous local celebrity.

experience to the local community,”

Selling as well as coffee is the

Claire says with a passion that is

Hawkstone IPA beer and cider, from

clearly born out of the experience

the farm of local petrol-head-turned-

with her first cinema.

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From above to right: LRCs custom designed sofas and concession offers including traditional popcorn and an upmarket bar serving wine and cocktails.

LIVING ROOM CINEMA

“We have the regulars in Liphook,” sha says. “We realised

shares that some of the biggest draws have been films without

early on that this is why we do it. There is a guy who comes in

a famous name, such as the producer and co-director of the

every single day and has a latte. We calculated that he spent over

“Lancaster” documentary. “Conversation between audiences is

£1,000 per year on coffee. He was a cinema member who

great but to have a real connection with the subject [of the film]

sponsored a seat in memory of his late wife.” When the year was

means you don’t have people coming off the street to watch

up, and he still had not used all his free tickets - members get

them, but ones genuinely interested in the subject,” explains

four free tickets and a £1.25 discount after that – Claire urged him

Claire. “We had someone whose grandfather was a Lancaster

to use it to see what was on before they expired. The film playing

bomber pilot. It’s like a self-help group.”

was Magic Mike 2. “He came out after 20 minutes, saying “That

And while two screens compared to one means more

was the worst film I ever saw.” But he still comes back for coffee,

flexibility in programming, Claire also notes that it also involves

and they have gifted him a new free membership.

twice as much cleaning.

Then there is a lady who has a severely autistic, non-verbal

Who are LRC Chipping Norton?

LRC Chipping Norton is situated in a seven-storey

son. She comes to screenings most weekends, not for the special

The Next Living Room Cinema(s)

autistic-friendly screening, but instead sees the same movie

The Living Room Cinema is clearly a success by having struck a

with her son. She had been gifted a premium membership

chord with the local communities in which the first two are

anonymously by a friend, Claire revealed. “She runs her own

deeply embedded. So is there a formula and how far can it be

business. She’s seen Mission: Impossible four times. ‘This is the

replicated, by them or others. “The aim is not to compete with

only time I get to sit down and not think about my life.” The man

Everyman,” says Claire, but to target “towns with no purpose-

and the woman were just two of the locals invited to the first

built cinema.” LRC is looking at towns, particularly market towns,

birthday celebration of LRC Liphook, rather than just the

that do not have a cinema within a 20-minute drive. With the

cinema’s shareholders.

Odeon Banbury and Oxford Magdalene Street, the nearest

around 7,000, located in the

Film programming at LRC ‘Chippy’ skews mainstream,

multiplexes are Cineworld Witney and The Light Banbury.

“while we find our feet,” and as there is “lots of training of

Claire’s business partner Nicole, who is a local, felt the area could

audiences to be done.” But there are initiatives such as Living

handle the ticket price, which is £16.50 for an adult.

former hardware store, with eleven serviced apartments on top, located along the town’s high street.

Chipping Norton itself is a market town with a population of

picturesque Cotswold Hills, about half-way

Room Presents, a strand of curated films once every other

While it would take someone with the passion, commitment

week. This has included The Last Rider by Dogwood (“near full”

and vision of Mses. Beswick and Carmen-Davis, there is clearly a

screening), Mark Cousin’s Alfred Hitchcock documentary and

market for well-run cinemas in smaller towns, strongly anchored

Squaring the Circle. LRC is also trying to incorporate films such

in the community. LRC ‘Chippy’ even attracted a new General

as the Korean drama Past Lives into their mainstream

Manager, who joined from Vue Croydon, “who wanted a change

(frequented by

programming. There is the Little Living Room £5 kids’ club

in pace of life.” We could see another LRC at some point, but it

Margo Robbie) and

screening, which has been showing Disney 100th anniversary

will be “at least a year until the next one,” sighs Rosie Mulford, “to

titles. There is the ‘In Conversation With’ series, with talent

preserve our sanity.” Launching a new cinema at the height of

connected with a particular film. While this has included

#Barbeinheimer clearly brings both rewards and challenges.

famous names such as Julian Fellowes and Asif Kapadia, Claire

Time to order a Barbitini.

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between Oxford and StratfordUpon-Avon. It is famous for the Soho Farmhouse

celebrity residents such as the Beckhams and former PM David Cameron.

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Sandie asks Hakan Askar for his view of the Turkish market, the most recent innovations within this Territory, and they talk about how cutting-edge technologies and forward-thinking cinemas in this region have maximised the customer experience, paving the way for remarkable success.

A SPOTLIGHT ON...

Fact File

CineWam, Istanbul

Hakan Askar, Director of Operations,

Hakan Askar has a wealth of knowledge in the cinema industry and, more importantly, its technology.

Hakan is currently Director of Operations at CineWam in Istanbul, Turkey.

CineWam is committed to offering the best content selection in the best environment with the best technology available. Prior to

I

holding this position, Hakan was Director of Digital Cinema Systems at CGV and Mars Cinema Group. He was instrumental in overseeing the deployment of 530

n the ever-evolving world of cinema, staying ahead of the curve is crucial for not only for survival, but for thriving. The cinema

industry

has

witnessed

remarkable transformations in recent years, with technological advancements

redefining the customer experience.

digital projectors and servers during the conversion from 35mm to

5 0

Embracing Gold Class Luxury “Cinema enthusiasts in this territory no longer view movie-

Digital.

going as “just another outing”; it’s a premium experience. Gold

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Class screens, an emerging trend in the local cinemas, epitomise

Luxury and quality redefined inside Turkish cinemas.

this luxurious transformation. These screens are equipped with state-of-the-art sound and projection systems, plush recliners, and gourmet dining options. Venues that have embraced Gold Class (Paribu Cineverse for example) have seen a surge in customer loyalty. Patrons are willing to pay a premium for the ultimate cinematic indulgence. Chains adopting Gold Class technology, have achieved remarkable success by providing an exceptional, upscale movie-going experience,” explains Hakan.

The allure of reclining in plush leather seats and savouring delectable meals while enjoying a blockbuster film has elevated the cinema experience to new heights. Venues have witnessed not only an increase in attendance, but also

IMAX and Dolby Cinema, have been met with enthusiasm by

enhanced customer satisfaction and loyalty.

audiences seeking unparalleled visual and audio quality.

Premium Large Format (PLF) The Bigger, the Better

Hakans explains that “theaters that incorporate IMAX technology, have seen record-breaking box office results as they set new standards in cinematic immersion. The colossal

In a world where home entertainment systems are increasingly

screens, immersive sound systems, and razor-sharp visuals of

sophisticated, cinema chains are responding with larger-than-

IMAX have proved to be a game-changer for them. It’s not just

life experiences. Premium Large Format (PLF) screens, such as

about watching a movie it’s about experiencing it on a grand

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A SPOTLIGHT ON...

scale. The adoption of PLF technology has not only attracted a

attention

diverse audience but also significantly increased box office

preferences and staying at the forefront

revenues.”

of technological advancements, they

The Rise of Premium Service Formats (PSF)

have

set

to

new

shifting

industry

consumer

standards.

“Cinema, in its essence, is a dynamic industry. To thrive, cinemas must evolve

The concept of premium service formats (PSF) encompasses a

with the times. Those that recognise this

range of innovative approaches aimed at delivering exceptional

and invest in technologies and services

service. Their success story highlights how PSF can be a game-

that enhance the customer experience

changer. Some are redefining the movie-going experience by

are the ones that stand out. They are

focusing on the finer details. From offering valet parking and

prime examples of cinemas that have embraced change,

personalised concierge services to a menu of gourmet cuisine,

adapted to new technologies, and reaped the rewards of their

they’ve made every visit a luxurious escape. By providing

innovation. By offering a Gold Class experience, adopting

impeccable customer service and introducing premium perks,

Premium Large Format screens, and providing Premium Service

theaters have created an environment where patrons not only

Formats, they have become pioneers in our region’s cinema

watch a movie but also enjoy an unforgettable experience. In

industry, setting new benchmarks for excellence,” Hakan

doing so, they have cultivated a loyal customer base that

concludes.

appreciates attention to detail and the personalised service.

The numbers speak for themselves - increased customer

Conclusion

retention, higher per capita spending, and packed houses are a

As the cinema industry continues to evolve, it is clear that

testament to the success of these.

innovation and technology are driving forces behind the

Anticipating Changes & The Success That Follows

maximisation of the customer experience. The success stories of cinemas prove that embracing Gold Class, PLF, and PSF can create a win-win situation for both businesses and movie-goers.

The key to success in the cinema industry is to anticipate and

It’s not just about watching a film or what’s on the screen, it’s

adapt to changes proactively. Cinemas that have successfully

about delivering an unforgettable experience. With visionary

incorporated these latest technologies and innovations have

leaders and investments in cutting-edge technologies, the

reaped the rewards in the form of increased attendance,

cinema industry is poised for an exciting future, where every

stronger customer loyalty, and thriving revenues. By paying

visit promises an extraordinary adventure.

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Hakan Askar, Director of Operations at Cinewam.

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More info

www. cinewam.com

BEYOND THE SCREEN:

AMPLIFYING THE CINEMA 5 4

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F E AT U R E

A look at how cinema can create unique experiences for movie-goers that generate incremental revenue and help amplify culture at a local, national and international level.

Jenny Sidorova, Head of Marketing, DX dx.tech

arly in October, I had the pleasure of attending UNIC’s Cinema Days in Brussels. But I have to be honest, the highlight of the two days was the UNIC Women’s Cinema Leadership Programme session. I’m one of the lucky few people that got to participate in the program this year as a mentor. It’s been a humbling and rewarding experience, especially this late in my career. Yes, late.

I’ll be turning 40 in January, which means I’ve been in the workforce for close to 15 years and this is my first official opportunity to be part of a program that emphasizes supporting other women. It’s quite ironic as neither the cinema industry nor the technology industry are particularly advanced when it comes to gender equality in terms of representation, yet here I am, new to both the cinema and technology industries, and it’s been an experience of many firsts, including the ability to officially support other women. I couldn’t be more grateful to Laure Galtier and the entire UNIC team for giving me the opportunity. The two days in Brussels were kicked off with an extended in-person meeting as part of this incredible program, and it really set the tone for the next two days. The inspiring Edna Epelbaum who was the special guest for the Women’s Cinema Leadership meeting said “revenue generation and amplification of culture, that’s the cinema industry.” I frantically wrote that down and knew I would quote her many times, as it’s just that. If we take a double-click out of the cinema industry and ask ourselves (and me as a marketer) what drives revenue generation and amplification of culture today, in 2023? The answer seems all too obviously, experience!

Amplifying Culture Let’s take it back to the cinema industry though. Experience and that which cinemas can provide to their audiences indeed generates revenue for cities, municipalities and communities.

Those experiences have the power to amplify culture in ways few industries can: through messages, emotions, political viewpoints and even a collective experience that is shared. We all know the power of a story and the message behind it as we’ve seen with some of the world’s greatest films. And we all know the power of experiencing strong emotion with a room full of strangers or sitting next to our closest family or friends. So if experiences can generate revenue and amplify culture today, then cinema is perfectly positioned to ride the wave of that trend. And many cinemas have already caught on. Some of my favourite examples during the UNIC Cinema Days’ panels and presentations included Laura Fumagalli from Arcadia Cinema sharing their Cinema & Science series that was launched a little

EXPERIENCE...

over six months before the release of Oppenheimer. I love this personalised example that shows that cinemas have the power to amplify studio marketing through their own creative and

www.cinema-technology.com

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more experiential initiatives. This series became so popular that it even started touring scientific festivals in Italy, demonstrating perfectly how cinema and other industries can seamlessly fit together when executed with intelligence, relevance, and a target audience in mind. Laura also shared the fantastic example of the Ministry of Culture in Italy jumping in to support cinema operators due to Italy’s cinema market being down 50% compared to pre-pandemic years. The Ministry of Culture

€20 Million

Invested by The Ministry of Culture to bring audiences back to the cinema

invested €20 Million to bring audiences back to the cinema and

+56.4%

fight the summer “apathy”. This included investment in promoting cinema-going, but also partially funding cinema tickets. The terms of the offer in the campaign: “between June

In the first six months of 2023 admissions were 31 million and 600 thousand - up a healthy +56.4% when compared to the first six months of 2022

16-September 16, admits for Italian and European films will be reduced by about half to €3.50 ($3.85). The difference will be covered by the ministry.” Cinetel data on first results: “In the first six months of 2023 admissions were 31.6 million (+56.4% in the

32 16

first six months of 2022). And in terms of the number of admissions, we are 16 weeks ahead of 2022: achieved already in the penultimate week of June versus what had been achieved from January to the beginning of October 2022 (source: MIA Mercato Internazionale Audiovisivo, Italy).”

Laura recapped that this meant 32% growth. It’s interesting to see how marketing and special offers can reduce summer “apathy”. A national campaign can be the perfect context to experiment with cinema marketing tactics & learn from data on both a national and individual level for cinema operators. At DX,

€3.50 Admits for Italian and European films will be reduced by about half to €3.50 according to the ‘June 16 September 16’ campaign.

In terms of the number of admissions, we are 16 weeks ahead of 2022 at the time of writing.

Etimated percentasge of growth from 2022 to 2023 according to Laura Galtier, speaking at UNIC Women’s Cinema Leadership Programme session.

this gives us great food for thought for our data dashboards. It would be most convenient for cinemas to be able to filter their cinema operations tool to identify which initiatives are cinema

Disney’s Wish by Chris Buck & Fawn Veerasunthorn

led versus national led (and why not versus distributor funded).

I think we can agree that Italy took experiential cinema to the

A more mainstream movie and likely well-budgeted by the studio in terms of

next level with both initiatives described above.

marketing efforts, yet a lot of people at each round table picked ‘Wish’. I loved this

Creating Experiences

decent budget and still amplify the experience through their own tactics. A great

Part of what I found really unique during the 2 days in Brussels was that half of the conference was top down, presenters and panelists on stage talking to the audience. But half was also bottom up with workshops and brainstorming sessions that

choice because it shows the ambition behind exhibitors’ desire to take a film with a example of how distributors and exhibitors can benefit from partnering together, planning ahead of time, and driving the largest possible audience. A few ideas that were shared include:

Involve influencers and focus on

release. Of course this idea would

premium screenings of the title,

have had to be planned up front - but

allowing influencers to offer a wish to

we were brainstorming here.

were communicated from the audience working together. I had the privilege of leading one of the several marketing

a young kid and also allow that kid to

workshops and to introduce a session. I presented a few marketing trends in my presentation ‘From AI to Fandoms,

watch the film with his or her family in

Stick luminescent stars glowing in the

a unique atmosphere.

dark in places that are highly visited

Navigating the Future of Cinema Marketing Through Trends and

by

families,

such

as

schools,

Insights’. One of the trends I focused on was how immersive

Disney could pre-release parts of the

playgrounds etc. But also all around

experiences can create multiple touchpoints for customers

film’s

and inside your cinema.

AND can be translated to promote almost any film. It doesn’t

soundtrack.

Organize

a

competition on social channels to generated

Lots of potential ideas around ‘Make

content) and create hype around the

A Wish’ trees and related local

release. Use the UGC on cinema-

traditions. Focusing on children from

owned channels, make videos of best

low income families, allowing other

it on a bigger scale. A few easy ideas to implement include a

submissions that can be shown before

audience members to grant wishes.

movie-themed photowall or booth (think Barbie), a themed

screenings during the first week of

Place a wish tree inside your cinema,

have to be big scale or complex. It’s about thinking of ways the audience can become more involved in their cinema visit, how they share their enjoyment of the film and how they experience

menu for those serving food, costume-screening with prizes

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generate

UGC

(user

F E AT U R E

for best dressed, a Spotify playlist of movie-music created by

Searchlight Picture’s Poor Things

by Yorgos Lanthimos

the cinema staff that audiences can enjoy at home, a quiz-night related to a movie, and so on. They don’t have to be big budget but require thinking ahead about how you can offer your audience an experience they can take with them beyond the

An interesting choice that several people focused on. I

film, and of course, share on social media! Symra Kino in

found this interesting because it’s a perfect example of a

Norway, for instance, created a Spy Quiz Game to celebrate the

film that may need a little boost of creativity from

release of Norwegian film ‘Nabospionen’, a kids animated

cinemas to make this one a success. A less mainstream

movie. Children could collect a printed sheet with clues which

film will almost certainly have less of a marketing plan

once completed could enable them to win free tickets to the

from the Studio, and thus create a window of opportunity

film. The same cinema also had staff dress up as Mario and

for cinemas to fill the gap by rolling up their sleeves and letting their teams get creative and get involved in

Luigi for families to pose with for the release of the Super Mario

amplifying the experience for this film. A few ideas that

Brothers film.

were generated include the following:

Industry Ideation

Organize a competition around the film using AR filters,

I’d like to wrap up highlighting the treasure I left for home from

where you can blend animal traits/masks with your

Brussels with, and that is all the brilliant ideas generated by

human features. Prizes could include season pass for

some of the attendees of the two days’ conference during the

the cinema.

Marketing Workshop.

Poor Things and Barbie double screenings, to tap into

The brief for the round tables was simple: 1. Pick an

similar audience and fan bases, with related pre and

upcoming film, 2. Think about the target audience. 3. Share

post-show activities and events.

outside of the box ideas that can enhance the cinema experience, inspired by the marketing trends I presented. The

Tap into a broad range of key audience groups, from

amount of ideas stimulated was impressive. It was like the gates

women/feminist themes to fantasy and book lovers,

just flew open. The ideas were mostly organised by film, so I’ll

classic film fans, etc.

leave you with two.

Create a make-up competition on social media. Winners could be invited to take part in an event related to the film premiere, or focusing on make-up artists. A whole unique atmosphere could be created around this, such as organizing an event outside of a cinema, inside a allowing kids to write or draw their

staff, even singers coming up on stage

wishes, and work with local companies

to recreate parts of the film or other

to make some of these come true.

Disney titles.

Collaborate with and nominate a local

Organize

competitions

about this experience is how ready to jump in and

charity. Organise competitions with a

around the film with kids, to be done

generate ideas everyone was, no matter their role in the

gamification aspect with potential to

on social media. Kids could dress up as

industry. I think this shows that if we partner as an

win various prizes - with the same

their favorite Disney character to show

industry, our collective creativity can make cinema more

finality to grant a wish to someone

their drawings.

experiential which in turn will generate revenue and

ghost train.

As you can see from the above, there were a lot of ideas, some more expensive than others. What I loved most

who needs it more, making a wish come true.

Create a Spotify playlist with songs from Disney movies, create awareness around it and target parents to grow family admissions.

Organize a pajama party with wine and local food (to get the older Disney fan base).

Create fun pre-show events, with

dressed-up audience members and

painting

amplify culture.

U K C A

V I E W

A Year In Review Phil Clapp, CEO, UK Cinema Association

U

nderlying confidence in the cinema

kind and almost certainly the biggest such promotion anywhere

business was demonstrated by the

in the world. At the same time the industry delivered the second

audience response to a series of

UK National Cinema Day (in recent times), taking place on

‘blockbuster’ titles throughout 2023. Yet

Saturday 2 September, with the overwhelming majority of

against undoubted high-points, there

cinemas offering tickets to see any film for just £3. The event once

was a clear absence of the smaller and mid-range titles which

again provided a national ‘moment’, with over 1.56 million

would ordinarily draw in more diverse audiences and which are

admissions, accounting for almost £5.3 million at the box office.

in normal time vital in filling the gaps and help with audience

Away from its involvement in marketing and audience

development, engagement and encouraging the cinema-going

development efforts, the Association has continued its core

habit. Matters have of course not been helped by the strike in

functions around advocacy and lobbying, as well as championing

the US, which although now resolved was sufficiently long-

the big screen experience. The organisation has also progressed

running to have both an immediate and medium-term impact

several key projects. Amongst these are:

on the supply of films. Issues around the ‘cost of living’ crisis have

The Technology Challenge Fund, launched in 2018 was

added to current pressures, directly in terms of the costs of

designed to find a way of delivering closed captions to

cinema operation and also through the ongoing squeeze on

audiences in cinemas on a personal device. After the significant

disposable income, impacting on the ability of many cinema-

impacts of COVID, work on this strand, which centres on a

goers to return to the big screen as frequently as they would like.

glasses-based solution developed by the not-for-profit organisation Built for Good Technology, has accelerated

Demonstrating Value

significantly in the last year, and it’s hoped the solution will be

In the face of these challenges, the UK cinema sector has had to

ready to roll out in early 2024; and

work hard to continue to be seen as attractive and competitive

a follow-up to the Association’s annual spring conference,

compared to other out-of-home activities. While some of the

which focussed on the environmental impact of cinemas and

increased costs have inevitably had to be passed onto the

the wider sector. Such was the engagement of members with

consumer, with an average ticket price of around £7.50, the

the subject, the Association is now working with the Zero

sector can still proclaim itself as offering one of the most affordable cultural activities available.

But value is not only of course considered in relation to cost

More info

but also experience, and here too the sector has attempted to Cross-industry marketing group Cinema First, has in the last

‘Road Map to Net Zero’ for cinemas. Having kicked off in September, it is currently hoped that the provisional ‘Road Map’ will be launched at the Association’s conference next March.

be proactive in improving the cinema-going experience. month confirmed a five year extension to its partnership with

Carbon Forum and a cross-section of members to flesh out a

Whatever the immediate fortunes of the sector, there is

www.cinemauk. org.uk.

no lack of confidence in the strength of the underlying business model, nor indeed any lack of willingness on the

Compare the Market around their Meerkat Movies 2 for 1 cinema

part of the Association to continue working and fighting on

ticket promotion, now the longest running ever UK offer of its

behalf of its members.

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C T C U P DAT E

By Your Side Richard Mitchell, President, Cinema Technology Community (CTC) AS we look back on a highly successful 2023 with pride, we also look ahead to an exciting 2024.

The CTC leadership team has over the past twelve months continued to support the industry through its recovery offering practical and impartial technology and business guidance to our global community which is now just shy of 900 members across

(Left and Right) supporting Film & Kino at the recent Den Norske Kino konferansen in Fredrikstad, Norway.

direction of travel for CTC and how best we can continue to support the global industry.

And that support culminated in a unique partnership with our friends and colleagues at Film & Kino, the Norwegian Cinema Association, which saw CTC produce more than three hours of content at their recent four-day conference in Fredrikstad.

more than 85 countries.

Whilst cinema has a bright future, we believe that the focus must

During the past year, we have continued our focus on making

remain

on

providing

high-quality

movie-going

knowledge sharing accessible to all with our revolutionary no-

experiences, from the lobby to the auditorium and beyond. In

cost membership option that has enabled professionals from

particular, the CTC team takes presentation quality seriously

around the world to engage with our content without any

and we recently completed a set of room test materials

economic barriers in place. This year, we have sought to provide

(available in 2-channel, 5.1 and Atmos),

guidance through white papers including our detailed look at the ‘Economic Benefits of Screen Technology’, recently created a

designed ostensibly for Event Cinema

Join our cause

broadcasters

to

ensure

quality

short best practice guide to decommissioning legacy cinema

Behind

we

presentations but also available as a 5.1

servers, produced a second series of our extremely popular ‘Tech

do at the Cinema Technology

DCP for exhibitors to use on a daily basis.

Talks’ - our short seminar on-demand series, produced multiple

Community is a passion for

Looking to 2024, CTC will turn its

episodes of our incredibly popular ‘In The Pub’ podcast featuring

ensuring that moviegoers have

focus to skills development with the

some fascinating guest insights and of course this very

the

reintroduction of our technical training

publication.

possible.

everything

best

cinema

that

experience

courses. Whilst traditionally delivered

We continued to bring our community together through our

If you share that ambition,

in the UK, the team are gearing up to

annual networking event at Barcelona in June, an occasion which

please join our community today

take these overseas to support local

helped us gain valuable feedback from colleagues on the

by heading over to our site:

markets. In recognising the global reach

cinema-technology.com

of our community, the CTC team is also looking at localising key deliverables to

CTC EXECUTIVE TEAM Richard Mitchell (President), Graham Lodge (Vice President), Joseph Boutros, Mike Bradbury, Sandie Caffelle, Chris Connett, Mark Kendall, Peter Knight, Sarah Lewthwaite, Adam MacDonald, Saul Mahoney, Andre Mort, Markus Overath, David Pope, Toni Purvis, Ulf Qvicklund, Simon Tandy, Patrick von Sychowski, Kristina Warner, Paul Willmott

CTC ADVISORY COUNCIL Tom Bert (Barco), Mark Christiansen (Paramount Pictures), Brian Claypool (Christie Digital), John Dowsland, Theresa English (TK Architects), Ruth Hinton (Vue International), Mark de Quervain (Showtime Analytics), Jan Rasmussen (Nordisk Film), Dominic Simmons (BFI), Alice Tentori (Digima), Julia Vinokurova (RealD)

enable these to benefit the widest possible audience.

2024 promises to be an exciting year, you can guarantee CTC will be working tirelessly

to

support

the

industry

through the next challenges on the path to full recovery. www.cinematech.today

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I M I S

V I E W

Looking Forward to 2024 David Pope President, IMIS (International Moving Image Society)

S

eason’s

warmest

have a tremendously powerful members section where our

regards to all CT magazine readers,

Greetings

members can exchange information and contribute to our

CTC

wealth of knowledge from the past 92 years of the society’s

members

and

and

IMIS/BKSTS

members.

existence.

It’s that time of year when we

reflect on the months past and wonder where did all that

A Successful 2023

time go? What did we do, what did we achieve, what are we

As regards to what we have been doing with all that time,

going to do for the coming year?

far too many things to mention here but suffice to say, our

Starting from the latter question. We love this

small team of volunteers have been hard at work. Attending

collaboration with CTC and are proud to contribute to the

events at Pinewood, networking and making great

continuing print publication of this superb magazine. We

connections for collaborating on future events. IMIS

look forward to working closer with CTC over the coming

members

months and hopefully organising some joint networking

Widescreen Weekend in October. Theo Gluck – a long

and training events together.

standing IMIS member and former Director of Library

were

again

in

attendance

at

Bradford’s

Restoration and Preservation at Disney in Burbank,

Looking Ahead

introduced the fabulously restored “The Lady and The

Our plans for 2024 are to re-engage with our membership

Tramp” to the festival audience. Film industry couple Dave

by organising regular networking events around the UK.

and Carin-Anne Strohmaier also attended. Dave has led the

Leveraging our close working relationship with Pinewood

digital restoration of the full back catalogue of the 3 strip

Studios, we also plan to broadcast global streaming events from Pinewood in collaboration with some of our high-tech neighbours on the lot.

analogue Cinerama films of the 1950s and 1960s, the last in

More info

collaboration with Warner Brothers. Carin-Anne has had an extensive career in post-production having worked on a number of Robert Zemeckis movies. The couple have

Stable Foundations Regarding our achievements over the past year, we have kept you informed of our progress in newsletters, but it is worth underlining some of these again as we look towards

extended generous hospitality to IMIS members who have

www.moving image society.net

visited Hollywood over the years. IMIS was delighted to return such hospitality by organising a visit to Pinewood Studios. We showed them around the studio, including

relaunching the society and restarting membership

meetings with Ruhan Loterring and a visit to the Kodak film

subscriptions. One of our main objectives for 2023 was to

processing facility, and we also met up with Jens

reduce the running costs of the society so that we are in a

Christensen, Head of Post-production at Pinewood.

good place to invest our members’ subscriptions to give the

The board of directors at IMIS extend our sincere best

best return. Part of this was a complete rebuild of our

wishes to all for the year ahead, we hope it is a happy,

website and a great byproduct of that process is we now

profitable, and healthy one for all. www.cinema-technology.com

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U N I C

V I E W

Cinema Days 2023 Sonia Ragone Industry Relations and Research Manager and Kamil Jarończyk Communications and Policy Assistant

O

n 19 and 20 October UNIC was delighted to welcome to Brussels nearly 180 cinema professionals for its yearly Cinema Days. The two-day event brings together experts from all over Europe to network and provide

insights on a wide range of topics through panel discussions, quickfire sessions and workshops. The UNIC Cinema Days opening session featured Laura Fumagalli from Arcadia Cinemas in Italy and Gregory Theile from Kinopolis in Germany. Both shared their optimism after the summer results with the “Barbenheimer” phenomenon and successful national cinema-going campaigns like Cinema Revolution in Italy and Kinofest in Germany. In order to keep the momentum, both exhibitors hoped for a steady flow of releases for 2024 and stressed the importance of innovation in enhancing the cinema-going experience. The following panel, hosting key European operators and distributors, offered insights on the shifting landscape of the cinema exhibition industry and identified strategies to ensure that cinemas

UNIC Cinema Days

remain an attractive and viable investment in this evolving market.

deaf or hard-of-hearing audiences. Afterwards, an open discussion between operators, integrators and manufacturers investigated the issue of ageing equipment and potential incompatibility and security issues. The technology workshops focused on a variety of topics from recruiting, training and retaining technical staff, to cyber-security

Workshops

issues, premium cinema, event cinema delivery, HDR standards and

Key topics of the quickfire sessions and the marketing and technology

sustainability & energy efficiency.

workshops of this edition included accessibility, sustainability, marketing strategies and initiatives, ranging from national cinema days

Diversification

to reward programmes, social media campaigns and audience analytics.

Among the topics covered in the marketing workshops one could

In the technology lab UNIC presented the main findings of the

see an emerging trend of cinemas becoming “more than just a

survey on training for technical staff that was launched last summer

cinema.” Cinemas across Europe are focusing more and more on

addressing all European exhibitors. Over 130 replies from 20 countries

diversifying their offer and services to maximise attendance,

were collected, highlighting that the main needs were related to

targeting different demographics than just the traditional cinema

training courses and materials in local languages, a high-level training

audience or encouraging existing visitors to remain in the cinema

course for technical staff led by cinema technology associations or

space after screenings. Of those cinemas attempting to expand their

national associations and the opportunity to have on-site intensive

offering, we can see more investing in concepts such as dine-in

sessions by experienced trainers. The attendees also had the

auditoriums,

opportunity to test “WatchWord closed captions” which are AR

entertainment centres with arcades, mini golf, bowling, axe throwing

glasses developed by the Built for Good Technology company for

or laser tag. Examples of such venues are common in the US with

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in-venue

restaurants,

cafés,

book

shops

and

Santikos and Cinergy cinemas, but are growing in Europe as well,

concert phenomenon in the US and in Europe as well as the much

for example the Cinelandia group in Italy, which renovated some

anticipated Beyoncé concert to be released in December. Events

of its multiplexes to convert them into family entertainment

around music album releases, live opera concerts or pop culture

centres. What became clear is that cinemas, now more than ever,

documentaries can surely attract audience groups that wouldn’t

have to be innovative and widen their contentand services.

necessarily be regular cinemagoers.

Diversifying the offer also means bringing new and varied

There are also strategies to create anticipation and excitement

film content to the big screen, especially in periods with fewer

around film releases. These include a themed decoration of the cinema

strong releases, in order to curate cinema programming with

spaces or foyer to invite visitors to immerse themselves in the film

dedicated film

cycles and activities to cater to all audience

universe, create interactive experiences where audiences could

groups. This can translate into children screenings with birthday

participate in contests or challenges inside the cinema for The Hunger

party rooms, parents & toddlers screenings, football matches or

Games: The Ballad of Songbirds & Snakes or Napoleon for example, or

sport events, esports - playing and watching, special events for

attend painting sessions for Wish or chocolate workshops for Wonka.

Oscar nights or national award ceremonies, cycles targeting

A report of the UNIC Cinema Days can be found on our website.

specific demographics like autism-friendly screenings or

Cinemas are continuously experimenting with new concepts

matinées for seniors with coffee and cake, to name but a few.

and innovative experiences to attract new audiences. A deep dive

Private hires are also an option for cinemas to maximise

into cinema innovation will be available with the upcoming UNIC

attendance, while meeting the needs of specific target groups,

Innovation Brochure, which will be published in February 2024. In the

for example professional conferences or university lectures,

brochure you will find many great examples of innovation in

influencer-hosted events, juke-box screenings (visitors choosing

technology and cinema spaces, in audience engagement and in

their own film in advance and promoting the screenings among

content from all across Europe.

their friends). Dedicated on-demand cinema screenings are also

The next UNIC event is the Retail & Circular Economy meeting

growing in popularity, with visitors being able to choose what to

which will take place in March 2024 at Apollo Cinemas in Tallinn,

watch, when and with whom, as well as being in charge of the

Estonia. It will be a great opportunity to investigate new concepts of

room settings (light, temperature, sound). Music content can also

retail offerings in cinema spaces and sustainability initiatives from

drive cinema admissions as clearly proven by the Taylor Swift

European exhibitors.

www.cinema-technology.com

More info

www. unic-cinemas. org.

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I C T A

V I E W

Looking Ahead to 2024 Frank Tees, ICTA President

I

CTA

recognizes

between

that

cinema

the

synergy

exhibition

technology but also ensures that the industry continues to

and

benefit from the fresh perspectives and innovative ideas of

technology providers is the driving force behind

innovations

that

new talent.

attract

The ICTA is in the process of launching a mentorship

moviegoers and creates an increasingly

program to encourage and support employment in the cinema

compelling experience. Together, we work tirelessly to ensure

industry. By mentoring and educating the next generation of

that the marvel of cinema remains a captivating and

professionals, we cultivate a pool of experts who can drive

unforgettable journey.

forward the integration of technology in the cinema exhibition industry. More information on the ICTA mentorship program

Education Initiatives

will be announced at CinemaCon 2024.

One key initiative for ICTA is education and training. The ICTA crash-course in cinema technology that we call “The

2024 Los Angeles Seminar Series

Fundamentals of Presentation Technology” continues to

Our annual networking and technical forum, the Los Angeles

receive rave reviews.

Over the past six months, we’ve

Seminar Series (LASS), is just around the corner, beginning

delivered the program at a number of US-based industry

January 8th - 10th 2024. It’s a unique forum where experts and

events. The program was especially designed for non-

enthusiasts come together to explore and define the future of

technical management and staff in exhibition who feel their

cinema. We are deeply grateful to The Cinema Foundation for

business could benefit from knowing a little bit more about

their enduring support, which enables us to host this event and

the presentation technology that is the lifeblood of what

strengthen our shared commitment to the cinema experience.

happens inside their theaters. What we’re learning is that

Taking place once again at the Hilton Los Angeles in Universal

even beyond exhibition, there is a need for this kind of primer

City, the LASS program is full of informative topics on a variety

– we’re seeing interest from technology providers who have

of technical and business issues.

hired new staff, corporate level theater chain executives,

Summer Business Retreat

and even from some studio personnel. We think we have struck a nerve!

Mentorship Program

More info

Plans are underway for our annual ICTA Summar Business Retreat, taking place July 21st - 24th in Orange County, California.

At this smaller, more intimate gathering, ICTA members

Related to our education initiative, we are working to advocate

network with their peers and ICTA leadership to help plan the

for the mentorship of individuals from within the cinema

direction of our association. There are always lively discussions

exhibition industry who aspire to pursue careers in cinema technology. Nurturing this bridge between the worlds of

www.ictaweb.com.

and exchanges of ideas about how to make our organisation – and the industry – ever stronger and more vibrant. As usual,

cinema and technology is essential. It not only creates

significant others are welcome and treated to special

opportunities for those passionate about cinema to explore

programming and events.

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NO BARRIERS NO BOUNDARIES KNOWLEDGE SHARING FIRST. With nearly 900 members in over 80 countries, Cinema Technology Community (CTC) is the world’s leading independent, not-for-profit trade organisation providing valuable educational resources to the global cinema industry.

With a highly engaged global community and a regular stream of content designed to help the industry improve the movie-going experience for consumers, CTC is the go to place for cinema industry executives.

And what’s more, it’s completely free to join because, at CTC we believe that the industry is stronger and better when we all learn and share together, so we’ve removed the biggest barrier.

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Q & A

Toni Purvis, Director of International Delivery and Operations, Amblin Partners From Projectionist and Technical Operations Manager for a major exhibitor, through to International Delivery and Operations Director for a global distributor and even CTC Director and regular podcaster, Toni Purvis has developed a unique skillset and deep knowledge of the movie industry having spent more than half her life in the industry.

CT: Please introduce yourself and tell us

that question succinctly. Ultimately, I work

the fully calibrated preview theatre. Having

about your background?

closely with the Amblin teams over in LA (Post

the knowledge and experience doesn’t make

I’m Toni. I’ve been working in the cinema

Production,

Publicity,

the pain go away, but I find that if you’re able

industry since my first year at university, which

Finance) to ensure that our international

to make sense of the situation and have a level

is when Odeon Leicester tempted me in with

partners have everything they need to release

of empathy, a solution is often just around the

staff tickets and discount on my favourite ice

a title in their local language. I focus on TV

corner and everyone involved can go away

cream (Coffee Coffee, Buzz Buzz Buzz in case

spots, trailers, theatrical feature elements and

relatively happily with the resolution.

you were wondering). I was fortunate enough

home video masters, working with various

to be trained up in the projection booth,

vendors and labs globally. Audio splits and

CT: In terms of diversity, how has the

attending to 12 beautiful purring Vic 5s. I

textless sections are my bread and butter, I

industry changed since you’ve been a part of

Legal,

Marketing,

it?

remained in the booth for the digital revolution and once graduated, moved to London to become the Technical Manager at the refurbished Odeon Swiss Cottage. From there, I was privileged to take on the role of Operations Manager Digital for the Odeon Leicester Square and the West End sites, which launched me into the world of

“I feel very fortunate to have experience across the sector as I feel it allows me to put myself in the shoes of most people I interact with.”

premieres and film festivals. From this role, I

I think I was very lucky to start my foray into projection at Odeon Leicester. Both of my chiefs there were exceptionally fair, and we had a diverse pool of trainee/part-time projectionists. I found it slightly unnerving when I first moved to London and had some challenges finding acceptance as a relatively young, female technical manager. I would

transitioned into distribution initially with

suppose! I have also been privileged enough

Entertainment One, then over to international

to be the boots on the ground for various

delivery for Mister Smith Entertainment, and

European screenings, attending set up and

finally I found myself delivering for Mr

rehearsals in Cannes for example.

love to say that everything has changed in the

Spielberg’s Amblin Partners.

Gosh. When I type this out, it seems like a

CT: You’ve worked across the sector, how

lot has happened in what feels like a blink of

does your knowledge help you understand

an eye. In my spare time, you can mostly find

the pain points of the various stakeholders

me on a bicycle, running up and down some

in the business?

hills, or in a brewery.

I feel very fortunate to have experience across the sector as I feel it allows me to put myself

CT: Tell us about your current role. What

in the shoes of most of the people I interact

does your day to day look like?

with. I can understand the panic of a missing

I am currently Director of International

KDM for a duty manager, and I can understand

Delivery and Operations for Amblin Partners.

the frustration when, in a standard cinema,

Each day is different, so it’s tricky to answer

content doesn’t look and sound like it does in

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Toni Purvis with the CTC podcast team in Norway (2023).

last decade, but I think that our industry still

our storytelling, creating, and delivering. I

back into the habit of going to the cinema. I

remains a very white, and very male industry.

think that we need to educate children and

love the ‘Into Film’ initiative we have here in

In the UK, distribution and production is still

young adults as to what careers can be

the UK which is valuable on so many levels,

very London-centric which can potentially

available to them in the film industry and

but I particularly love that it can help bring a

restrict those from lower socio-economic and

encourage that. Seriously, if I’d known what a

younger audience into the cinema and show

regional

Leeds,

Foley artist was when I was growing up, that

them the magic. We then have the ‘Cinema

Sheffield and Manchester have some amazing

would have been number one on my list,

Day’ initiatives making tickets affordable and

facilities in the North which could potentially

swiftly followed by becoming a Boom

that was seen in various iterations throughout

help with diversification. Glasgow, Edinburgh,

Operator. I’m positive there are people out

Europe. I found my wonder of the cinema with

Cardiff and Belfast all have studio spaces too

there that can’t get enough of equipment tear

a £1 kids ticket to 101 Dalmatians at Odeon

which is really positive.

downs, knowing how things work, being able

Coventry in my youth, so perhaps I’m being a

to fix them. What better a place to follow that

little naive and nostalgic.

backgrounds.

That

said,

CT: How much further do we need to go to

passion than in a cinema where the magic

create a vibrant and inclusive environment

happens?

that’s appealing to all?

There

CT: What’s your favourite thing about are

already

people

and

working in the industry?

I think we have a long way to go but I believe

organisations in our industry that are chipping

That’s an easy one. Cinema is where I escape

the journey is underway. Education is my

away at making our world more technicolour,

from the demands of everyday life. It’s where I

favourite word when it comes to this topic. I

we just need to keep going.

can laugh heartily or cry freely, sometimes I

feel we, as a community, need to educate

do both simultaneously. So, the best thing

those already in places of influence; to show

CT: What do you see as our biggest challenges

about working in this industry, is being part of

how wonderful our industry would be if we

going forward?

the network that can provide that same

had voices from all walks of life inputting into

Industry wide? I think we need to get people

escape to others.

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