Omnex Newsletter: October 2023

BFG: It’s a giant leap for inclusivity IN THIS ISSUE

Our news, our views

October 2023

a [laser] bank that can really save you money!

Naplesheimer: how Omnex helped 35mm to thrive

game changing technology

making

44

Five minutes with the man behind the operations - Nigel 54Remind us who you are again - a refreshing look at Team Omnex

An industry with energy

As we welcome the Autumn season, it’s a fitting time to reflect on a Summer that has been nothing short of a milestone for the UK cinema industry. At Omnex, we are proud to be part of this exciting journey, contributing to service, support and maintenance as well as technological advancements and sustainability initiatives.

In this edition of our newsletter, we explore a range of topics that demonstrate the resilience and innovation of our industry.

A Record-Breaking National Cinema Day

On 2nd September, National Cinema Day returned with over 630 venues participating, offering tickets for as low as £3. Setting new records in both attendance and box office revenue, with a 6% increase in admissions and an impressive £4.6 million generated. Not just a commercial success but also a celebration of the UK’s most popular out-of-home leisure activity.

Films like Barbie and Oppenheimer were among the highlights, contributing to an exceptional 97% satisfaction rate among attendees.

The Shift to Laser Projection

We had the honour of presenting at the UKCA’s Annual Conference earlier this year, focusing on the energy and cost-saving benefits of laser projection technology. We will revisit the key takeaways and share real data as to why this transition is timely and crucial for the industry.

A Leap for Inclusivity

Our Head of Technical Services, Darren, sits down with James Connor from the UK Cinema Association to discuss a groundbreaking project aimed at enhancing the cinema experience for the hard-of-

hearing. This is not just a leap for technology; it’s a giant leap for inclusivity!

Box Office Projections and Future Outlook

Lucy Jones, Executive Director at Comscore, will delve into the record-breaking box office releases of Summer 2023 and offer projections for cinema’s optimistic future. With global box office numbers soaring, the industry is on track for a remarkable recovery.

Sustainability at the Forefront

Lastly, we are focussing on how we can understand our measure in achieving Net Zero. As we explore some of the impact we can influence, we

share some of our learning journey and plans for the future - all this with a view to aligning perfectly with the UK Cinema Association’s efforts to curtail environmental impact.

We look forward to an Autumn filled with innovation, inclusivity, and dare I say it... content!

Which leaves me to thank you for your continued support. We’re here when you need us.

Simon Tandy, MD, Omnex

We look forward to an Autumn filled with innovation and, dare I say it: content!

Box Office Resurgence: The Numbers Behind Cinema’s Triumphant Summer of 2023

AS SPRING TURNED INTO SUMMER the pace of recovery moved up a gear as The Super Mario Bros. Movie zoomed past $1.3 billion worldwide. This set the pace for May, the traditional start of summer, with both Guardians Of

The Galaxy Vol. 3 and Fast X scoring spots in the Top 5 releases of the year. June maintained this pattern of sequels attracting the biggest audiences with Spider-Man: Across The Spider-Verse topping the month’s chart.

And then: #Barbenheimer! By the end of July, the global

YTD box office had passed $21 billion, just 11% behind the average of record-breaking years 2017-2019. Global box office topped $4.5 billion in July, 17% ahead of the month’s prepandemic average across 20172019. While August couldn’t maintain this pace, it was still 1% above this average at $3.6 billion.

Lucy Jones, Executive Director at Comscore, delves into the record-breaking box office releases of Summer 2023 and offers projections for cinema’s optimistic future.

IN THE WORDLWIDE ALLTIME CHART, after seven weeks on release, Barbie currently ranks at No.15 (between Avengers: Age Of Ultron and The Super Mario Bros. Movie), and Oppenheimer is at No.71 (between Spider-Man 3 and Ice Age III). Film students will be analysing summer 2023 in years to come with the buzz around Barbie and Oppenheimer creating a perfect case study.

With the exception of 2020, every year since 2008 has delivered at least one billiondollar release. This grew from one per year in 2008 and 2009 –The Dark Knight and Avatar respectively – until 2015 became the first year to see five billiondollar successes, matched by 2018, then far surpassed by

2019’s

Spider-Man: No Way Home kick-started the post-pandemic return in late 2021, and 2022 stepped things up a level with three titles passing this milestone. 2023 is now seeking to match this – which title will be next to join Mario and Barbie in the billion-dollar club?

IF THE US actors’ and writers’ strikes don’t cause major movies like The Marvels, The Hunger Games: The Ballad Of Songbirds And Snakes or Wonka to shift into 2024, this year could

hit $35 billion worldwide, getting ever closer to the pre-pandemic level of $42 billion.

Just last week, our partners at Gower Street Analytics increased their 2023 global box office projection to $34.5 billion, an increase of 8% from their previous projection issued in April. This would deliver a result only 12% below the 2017-2019 pre-pandemic average, and would see the global box office end the year a stunning 33% ahead of 2022.

record-breaking nine titles.

With thanks to Lucy Jones for this contribution.

Image : copyright of Universal Pictures

Naplesheimer in 35mm

Join Pete Naples, our Senior Engineer, as he journeys back to the projection room. Discover how the 35mm & 70mm revival for ‘Oppenheimer’ rekindled the magic of traditional cinema.

A must-read for film buffs...

THIS SUMMERS OPPENHEIMER

was released in many digital formats, but it was 35mm & 70mm that saw a real [reel?] boost! The challenge? A shortage of skilled projectionists. The call went out for veteran projectionists, leading former booth dwellers back into the projection room. Mark Kermode would’ve said, “I told you so!”

Whilst my colleague John was asked to run shows over at Liverpool FACT, I was tasked at The Cameo Cinema in Edinburgh—a cinema that originally opened over a century ago. It’s rather nice! Oozing character and charm. It was

one of the first cinemas in the UK to screen a program of chiefly foreign language, art-house, and experimental films, under the ownership of Edinburgh cinematic legend, Jim Poole. It was JKS Poole who ran the Cameo from the 1950s until about 1986 until it closed and Mr. Poole retired. Luckily for Edinburgh, it wasn’t closed to long before Recorded Cinemas reopened it, adding two small screens in the early 1990s. Recorded Cinemas became Oasis Cinemas, owned by Chris Blackwell of Island Records fame (the Oasis Cinemas and Island Records logos are inverted versions of

Leading former booth dwellers back to the projection box.

Mark Kermode would’ve said, “I told you so!”

each other). Oasis cinemas were then acquired by CityScreen, now known as Picturehouse, which was acquired by Cineworld. Dizzy yet?

I like to think my past is less confusing: Previously I had been at the MGM Lothian Road, Edinburgh, and before that the Robins (formerly CAC Orient Express) in Dunfermline. I’ve run GB Kalee with carbon arcs, Fedi, Westrex, Century, Phillips, Cinemecannica, and Simplex equipment. It’s fair to say I’ve some experience. So for me, this was a treat from the past. Having worked at Cameo as a projectionist between 1994 until joining Omnex in 1998.

JOINING THE CAMEO’S

resident projectionist Stewart Burr, we rehearsed the print. I had sort of forgotten just how good a picture that senior Westar is capable of. Whilst the projector dates back to the 1950s, it has been retrofitted with a threeblade shutter for reduced panflicker, a curved film-trap and studio gate from a later Century model, as well as a timing-belt motor and primary drive and the reverse-scan audio that I’d recently replaced. It puts out a picture which a late model Kinoton D machine would be proud of!

The Oppenheimer prints are superb, no expense has been spared striking these. I dimmed the lights, opened the dowser

and reached for the focus and framing knobs. A subtle tweak to get it pin-sharp and I was amazed. STUNNING! Steady, sharp and the depth of colour is fantastic.

I confess it felt quite unsettling to work again in the box I left a quarter of a century earlier; none of the colleagues and friends I made in that era are still in the industry. Something else I came to realize as I pondered life listening to the mech whirring was this: I thoroughly enjoyed the years I spent working there, honestly among the best years of my life.

behind-the-scenes tour.

The run was very well received by the paying public, especially since the only other cinema in Edinburgh capable of showing film closed suddenly last October. The Cameo has a special place in mine and many others’ hearts, even more so when running film.

AS PER

THE

TRADITIONS and ancient laws of projectionists, chips were consumed on the way home after each shift. My wife, Kirstyn, even came to see it (she is a Cillian Murphy fan). Thoroughly enjoyed her movie and thoroughly enjoyed her

I ENJOYED MY WEE STINT back into the box. Would I go back to it permanently? I don’t think so! The economics don’t add up and we projectionists are getting fewer and fewer. However, it’s important when we do it, to do it well, so that generations to come can enjoy it.

As long as filmmakers like Chris Nolan continue to make film prints, we’ll help get them on screen.

we daren’t date this image of a young Pete Naples at the Cameo

The bottom line?

Omnex has all your seating needs covered

A POSITIVE REBOUND. Thanks in part to a strong summer box office, we’re workgin with cinemas looking to amplify the customer experience; by upgrading their seating. With our dedicated seating team of nine specialists we’re very happy to help.

A SEASON OF ACHIEVEMENTS. Our team has been diligently working across the UK and Europe, not just conducting safety checks and software updates, but also executing new installations. We are particularly proud to be entering the third year of our specialized project with Odeon cinemas. During this time, we’ve updated the software on over 20,000 recliner seats, ensuring they meet the highest health and safety standards.

BEYOND BORDERS

Our expertise isn’t limited to the UK; we’ve also made significant strides in Europe. We’ve successfully upgraded and installed recliner seats in various cinema formats, including Dolby Vision, IMAX, and Premium Large Format (PLF) cinemas.

THE FUTURE IS COMFY

With the industry comfortably seated (sorry!), now is the perfect time for to consider seating as a valuable upgrade. Not only does it enhance the customer experience, but it also aligns with the industry’s positive trajectory. For more information on how Omnex can tailor a seating solution to meet your cinema’s specific needs, please get in touch with us.

Our ninestrong seating team has been hard at work in the UK & Europe

Finding efficiencies in automation

Being energy efficient is crucial to all businesses. One area of which savings in both energy and operational efficiency is further automating the Projection room.

Whilst using the latest laser-based projectors is widely known to reduce costs, it is possible to manage various equipment via automation; ripe for efficiency.

With automation we can help you to:

Power up and down the compatible* projector (And in turn your boot up your IMS server)

Turn on the lights at a specific time. Switch on the sound rack at a specific time. Ensure Non-Sync is selected ahead of the show.

Additional streamlining

Equipment needed for an automated cinema open/close.

Compatible Projector with Standby Function

JNIOR Automation Unit

Controllable Power distribution, Sound Rack automation or remote-control-capable amplifiers.

By use of the Omnex TMS powered by Arts Alliance Media’s Screenwriter, if the TMS is connected to your POS (Point of Sale), if no tickets are sold, the system will also shut down the show as required. With no projector light source on and no audio playing there is a reduction in energy straight away. Changing to newer higher efficiency amplifiers can also help reduce energy saving from the projection room.

Contact Omnex for further information and a bespoke solution to suit your cinema.

* Any projector with a Standby function. i.e., BARCO DP2K-XXS, SP2/4K, All NEC projectors, all Christie Series 2 and above.

Enhancing Cinema Accessibility: A Technological Journey

For decades, cinema operators have been committed to ensuring the moviegoing experience is accessible to all. With a move to digital cinema, and advancement in DCI, it is time we see technologies that support a much needed evolution.

The Evolution of Inclusive Cinema Experiences

In the era of analogue cinema, standard features included designated wheelchair spaces and hearing loops to assist those with hearing difficulties.

As technology advanced, Infrared audio systems were introduced, offering superior audio quality for the hearing-impaired. The early 2000s saw the advent of systems like Dolby Screentalk and DTS CSS, which incorporated subtitles into selected 35mm film screenings.

The Digital Revolution

The transition to digital cinema technology has opened new avenues for enhancing accessibility. These features can be integrated into the DCP, provided the content creator makes them available. Popular options include:

Audio tracks for the Hearing Impaired (HI)

• Audio Description (VI) for the visually impaired

Subtitles and overlay captions

• Closed Caption Support

Potential for future Sign Language integration

• Closed Captions offer the flexibility for viewers to see subtitles on their personal devices, with Dolby DAS being the most widely available system for this feature.

Decoding the Acronyms

HI or HOH: Hearing Impaired or Hard of Hearing

VI: Visually Impaired, also known as Audio

Description (AD)

SL (V): Sign Language Video

OCAP: Overlay Captions (visible on screen)

CCAP: Closed Captions (displayed via device).

The advantage of having closed captions available from the DCP allows any screening to

be accessible for subtitles with the use of personal display devices.

DCP Naming Conventions

The naming conventions for DCPs have evolved to include audio and subtitle options, adhering to the latest standards. For example, ‘EN-EN’ signifies English Audio with English subtitles, while ‘EN-XX’ indicates English Audio without subtitles.

Hearing loops - Available now

Single channel audio. Easy for hearing aid users to receive via the ‘T’ position. Lower quality than infrared and later Wi-Fi based systems. Extremely hard to retrofit to an auditorium, best installed in a new building.

Separation from screen to screen can be a problem. Can have coverage issues.

Infrared - Available now

Choice of HI or VI Audio. Better audio quality than a loop system.

Coverage issues, prone to noise at the edge of range. Depending on the room it can be simple to install. Headsets and Bodypack receivers.

Can use your own wired headphones.

Dolby DAS (Dolby Accessibility Solution) - Available now

Smart Glasses - In progress

Closed Caption playback

Glasses on top of glasses could be a restriction.

Not yet available as a released Cinema product

You will find out more details within this newsletter - an interview with James Connor.

Dolby DAS replaced the previous Fidelio system. This is a Wi-Fi based system and has added further functionality such as the display of Closed Captions plus the ability to display sign language video of with a pair of headphones, the HI or VI audio tracks. You can even have both at once.

Choice of HI or VI Audio

Closed Captions available now for compatible DCP’s

The only system for SLV Sign Language Video support

Simple to install, all in the projection room in most cinemas.

High quality Audio (Wi-Fi Based)

Simple to add to any auditorium. No in Auditorium equipment required.

Handheld device with video touch screen and privacy screen.

Cup mount or Clamp mount for cinema seats when using for Closed Captions

Can use your own wired headphones. Can add a personal loop to the receiver.

Please feel free to speak to any of the Team, if we can provide you with additional information - and as a reminder to check out the update with James Conor ‘interview’ wher you can learn more about how Built for Good are developing a Smart Glasses solution.

Cup Mount (Clamp mount also available)

Dolby DAS Solution

DAS hendheld device privacy screen

DAS handheld: simplified UI

In a groundbreaking discussion, Darren, our Head of Technical Services, sits down with James Connor, Senior Policy Manager from the UK Cinema Association.

Together, they delve into a revolutionary project that promises to transform the way the hard-of-hearing experience the big screen. This is not just a leap for technology; it’s a giant leap for inclusivity.

Darren: Can you outline the genesis of the Technology Challenge Fund and its mission for cinema-goers with hearing loss?

James: The UK Cinema Association launched the Technology Challenge Fund in 2018. The primary goal was to enhance the film-watching experience for those with hearing impairments by developing a personalised device for delivering ‘closed captions.’ We aim to offer more accessible showtimes and a

wider range of films to this audience.

Darren: Could you elaborate on how the project arrived at using smart eyewear for this initiative?

James: Our panel of industry experts and a user group comprised of people with hearing loss guided us toward the smart eyewear solution. This technology, initially developed by the National Theatre, displays captions directly on the lenses of the glasses. It allows for an uninterrupted viewing experience, as

an insider’s look at the gamechanging technology that’s making it happen

It’s a giant leap for inclusivity.

you don’t have to alternate your focus between the screen and a separate caption display.

Darren: The project faced significant delays due to COVID-19. How did the pandemic influence the transition from the National Theatre to your current partnership with Built For Good Technology?

James: The pandemic necessitated a pause in the project. The National Theatre, unfortunately, could no longer continue their support. That’s when we partnered with Built For Good Technology. Many team members from the original project joined Built For Good, bringing invaluable experience and understanding of the challenges and opportunities for such a solution in the cinema sector..

Darren: How has the project evolved since teaming up with Built For Good Technology?

James: Over the last year, significant strides have been made. Built For Good Technology developed a new software that pairs with a revised version of the smart glasses. This leads to a more adaptable, sophisticated solution that we believe cinemas will be interested in adopting once it’s available.

Darren: Could you tell us about the technology itself, specifically the glasses?

James: The glasses we’re using are an ‘off-theshelf’ product by Epson. They have applications in various sectors, like medicine and dentistry. However, based on project feedback, these glasses have been adapted to be lighter and more user-

friendly, particularly suiting them for cinema environments.

Darren: How has the feedback from the deaf and hard-of-hearing community influenced the development process?

James: Their input has been invaluable. One of the unique features of the glasses is the ability to change the font size and colour of the captions. This was a direct result of feedback from live in-cinema demos. Users appreciate the control they have over how they view the captions.

Darren: What are the next steps for scaling this technology?

James: We’re in talks with both Epson and Built For Good Technology about the financial aspects. The aim is to understand how Built For Good’s solution can be rolled out effectively in cinemas. We anticipate presenting the technology to all of our members by the end of this year, encouraging widespread adoption.

Darren: Finally, what impact do you foresee this technology having on the cinema sector, especially for those with hearing impairments?

James: This initiative has the potential to revolutionise how those with hearing impairments engage with cinema. It offers a more integrated, less isolating experience. We’re optimistic that this technology will become a new standard for accessibility in cinemas.

For more information, you can contact the team at Omnex or reach out to James Connor at the UK Cinema Association –james.connor@cinemauk.org.uk

Screenwriter: driving sustainability with software.

Designed to increase operational efficiency, Screenwriter presents a multitude of energy-saving features that help cinemas to act more sustainably.

NOW MORE THAN EVER the need to operate more sustainably has become essential; a conversation that has developed within exhibition as the subsequent time and cost savings of progressive software are revealed. Leading the charge for change is Screenwriter, a trusted and longestablished Theatre Management System (TMS) that powers over 44,000 screens worldwide, and its powerful automation is proving the difference maker.

Screenwriter remains the industry’s leading tool for theatre manage -ment.

By automating manual tasks, controlling content with ease, and centrally monitoring screens and playback, exhibitors are reducing energy consumption and optimising resource allocation to make significant time and cost savings. The art of automation not only improves the quality of daily operations, but contributes to a more eco-friendly and financially sound future to further align with the evolving needs of modern audiences.

Centralise cinema management

FROM ONE CENTRAL LOCATION, a single Screenwriter user can manage every area of their operations. By scheduling content, managing KDMs, monitoring screens, and controlling playback, all from a single, easy-to-use dashboard, exhibitors can save time and energy actioning manual, repetitive tasks to build workflow efficiency.

Automatically cancel empty shows

SAVING ENERGY AND OPERATIONAL COSTS, Screenwriter will allow users to create a set of shutdown commands for each screen, known as Auto-Show Cancel, that will trigger up to 30 minutes into a movie where no tickets have been purchased. In this instance, Screenwriter will interrogate the POS and shut down the screening.

Automatically turn systems on and off

HARNESSING ‘BOOKENDS’ FUNCTIONALITY, Screenwriter users can prepare ‘Start of Day’ and ‘End of Night’ playlists, which can be scheduled before and after the first and last show in each screen, to eliminate the need to power systems up upon arrival or keep them running idly at night. This enables each screen to automatically power down at its earliest possible point to save energy and money.

Receive content with ease

WITH E-DELIVERY, OR ELECTRONIC DELIVERY, vendors can integrate with the AAM Cloud API to deliver content straight to Screenwriter, a process which provides vendors and exhibitors with an accurate delivery status with end-to-end visibility. Without the need for a courier to personally deliver and transfer content, the industry can benefit from a modern, carbon-neutral form of delivery.

Navigating the

Still off the bat of this years UKCA National Conference, we're more committed than ever to charting our own sustainable course. We are focusing on how we can understand our measure in achieving Net Zero. As we explore some of the impact we can influence, we’d like to share some of our learning journey and plans for the future.

Learning from the Best

While we're still in the exploratory phase, we've been inspired by some of the leading thinkers in the field of sustainability. One such consultancy that has caught our attention is Trigage. They specialise in helping companies align their sustainability goals with their business objectives, a philosophy we find quite compelling!

What We've Learned So Far

The approach to sustainability is multi-faceted, covering everything from corporate strategy to operational efficiency, and understanding how customers may need to rely on our Scopes. Here are some key takeaways that we find particularly enlightening:

Corporate Strategy: Aligning sustainability efforts with global goals like the UN's Sustainable Development Goals can provide a clear roadmap for action.

Operational Efficiency: A thorough review of energy usage can identify opportunities for meaningful reductions.

Customer-Centric: Understanding our customer requirements related to sustainability can guide us in tailoring our offerings.

Innovative Solutions: Incorporating sustainability into product design is not just good for the planet; it's good for business.

Supply Chain: Choosing partners who share our sustainability values can have a ripple effect throughout our industry.

path to Net Zero

Our Next Steps

We're in the process of taking these learnings to develop our own sustainability strategy. Whilst we respect this will take time, a ‘Net Zero’ plan is high on our list of priorities. We are very aware that this is more than just ‘planting a tree’. We're keen to dig into the detail, from auditing our current carbon footprint to identifying actionable steps for reduction.

What You Can Expect

As we continue on this journey, we're committed to keeping you in the loop. You can expect more updates on our sustainability initiatives in our next newsletter, scheduled for April 2024 - and we’d genuinely welcome your feedback in how we can further align with you.

Like many, the UKCA National Conference was the catalyst for us, and we're excited about the road ahead. We're committed to learning, growing, and taking meaningful steps toward sustainability.

More reasons to shop with us...

Whether you are an existing contract customer or new to shopping@Omnex, we invite you to visit our website to discover the convenience of shopping with the best-value technology provider in the industry: www.omnex.co.uk/shop

Our handy online shop offers a range of products from brands such as NEC, Barco, Christie, Sony, and GDC, with an inventory that includes everything you need to keep your cinema operational and up-todate. And as a thank you for your loyalty, we offer a useful 10% discount on all sundry items purchased through our website.

Unlike others, we believe in full transparency and that is why we publicly advertise our prices. You’ll never have to wonder if you’re getting the best deal with us!

Laser: Cost saving opportunities

On the 21st of March 2023, We had the privilege of presenting at the UKCA’s Annual Conference, themed “Greening the Big Screen Experience.” The focus of our presentation was on the energy and cost-saving benefits of laser projection technology. A continuing topic that we felt was important to a look back at the key takeaways and why this data is crucial.

The Shift to Laser Projection

The transition to laser projection is straightforward: your existing xenon lamp projector can either be replaced by a new laser projector or on some projectors, you can retrofit with a laser light source. The types of laser projectors commonly discussed are Laser Phosphor - widely used in smaller screens - and, RB Laser, and RGB - generally used in larger screens - each with its own set of advantages and ideal use-cases.

Why Now?

The timing for this transition is ripe for several reasons. Firstly, the industry is at a point where most equipment, especially in the UK and Ireland, has been in operation for roughly a decade. Secondly, the rising energy costs and the increasing need to improve our environmental footprint make it imperative to consider more sustainable options. From Omnex’s perspective, only 5% of the projectors we’ve installed since the pandemic are xenon, compared to laser and in use in grading rooms and post-production. It’s also worth noting that less manufacturers are building xenon-lamps projectors.

Real-World Data and Potential Savings

During the conference, we shared compelling data, courtesy of our colleagues Steve Case and Darren Briggs, showing the potential savings cinemas could achieve by switching to laser projectors. The calculations were based on fair market rates, and the energy cost was pegged at 34p p/kWh.

6kW Xenon vs. Laser: Savings of around £6,000 per year on energy bills and a 45% saving on capital over ten years

Beyond the immediate financial savings, laser projectors offer other advantages:

• Environmental Impact: Manufacturers are increasingly using recycled parts.

• Operational Efficiency: Reduced need for local ventilation and easier maintenance.

• Versatility: The same projector can be used for both 2D and 3D projections without requiring lamp changes.

3kW Xenon vs. Laser: Savings reach a break-even point around the 4-year mark, with annual energy bill savings of around £2,000.

2kW Xenon vs. Laser: Savings in outgoings are noticeable at the 3.5-year point, with annual energy bill savings of around £1,500.

Conclusion

The data presented at the UKCA conference underscores the tangible benefits of transitioning to laser projectors, both from an economic and an environmental standpoint. While the information is not intended to pressurise any upgrades, it serves as a valuable guide for future planning and budgeting.

We are committed to helping cinemas make this transition smoothly. We are more than happy to visit your premises, record existing power calculations, and propose a suitable projector along with the potential savings you could achieve.

Omnex is a cinema technology company headquartered in Aylesbury with an experienced team of cinema-focused professionals.

Our UK-wide team of engineers are all qualified to install and support all major cinema projection equipment. In addition, we are distributors of all major cinema sound and server equipment, as well as automation, video distribution, and conferencing systems. Our website, www.omnex.co.uk offers affordable pricing on a range of cinema sundries. Despite the impact of the Covid pandemic

on the industry, we have reduced our Annual Service agreements and offer monthly payment options — via Direct Debit if you need. This allows us to provide annual service and support from as little as £59 per month.

Our support includes 7-days a week, 8am until 10pm remote intervention via your internet connection, with a dedicated engineering team available for remote support during those hours. We also ensure that all software/firmware is up to date and includes full projector servicing and audio EQs annually.

April 2023 spotlight on Omnex suppliers

Furthermore, we have a dedicated Cinema Seating Team for sales, installation, and repair. We pride ourselves on delivering the best-value so that cinema can remain the best place to watch content. The big screen experience is in our DNA.

We are proud to work with a range of leading suppliers and the following pages allow us to introduce you to the innovative products that they offer. If you’d like to know more about these suppliers and indeed the full range of products and services Omnex can support you with, please drop the team a line: info@omnex.co.uk

supplier showcase

25 th

ANNIVERSARY

Choose the future, now!

Laser has many different benefits, and we continue to invest in laser innovations for every cinema screen for the long-term. It’s a safe and future-ready investment that brings value for you and your audience.

4 reasons to go laser

Improve image quality

Your audience will enjoy a better movie experience thanks to laser. Boost your brightness, contrast, and color and guarantee a consistent brightness over time.

Moviegoer satisfaction

Picture quality is the number one factor influencing a moviegoer’s decision to see a movie in a theater. Laser projection improves color quality and brightness levels, which matters significantly to 68% of moviegoers.*

Simplify your operations

Laser projection makes running your theaters simpler by improving operational efficiency. It implies less storage, less staff training, and less maintenance.

Reduce resources

With laser projection, you can cut costs up to 70% by reducing your power consumption, minimizing heat dissipation, and increasing efficiency.

Laser Light Upgrade

The fastest way to laser. Get all the benefits of laser on any Barco Series 2 xenon projector.

• Fully integrated laser upgrade solution for Barco Series 2

• Smart lifetime extension for your current projector

Barco Series 4

Explore a complete range of nextgeneration laser projectors and discover outstanding image quality and worry-free operation for every screen.

• Brilliant images consistently delivered

• Sustainable and eco-friendly projector platform

• Smart design for worry-free operations

• Improve image quality and reduce costs *Source: Erm Research Global Study

Feel the difference of precision

Laser projection by Cinionic is today’s leading technology for tomorrow. Outstandingly beautiful image quality in an easy-to-operate system. Efficient, effective, and eco-friendly. Made for delivering an incredible cinema experience on every screen. Go to cinionic.com to see how you can benefit for laser by Cinionic.

Trinnov

Cinema

Audio and Omnex have a proven track record of making existing cinemas simply sound better with the Ovation2

Processor

“Clap your hands!”

If you hear an echo, we can improve your dialogue quality

The next generation of CINEMA PROCESSOR

Ignite your passion

XBO® cinema lamps - the magic on screen

It all starts with a screenplay and the director’s point of view, but it all must be taken to the audience without losing the original intensity and magic. Light up a new world on the screen with XBO® cinema lamps.

osram.com/xbo

SEATING SOLUTIONS MANUFACTURERS FOR

CINEMAS

EZCARAY SEATING, founded in 1955, has always been focused in the design and production of seating solutions for cinemas, theatres, opera houses, auditoriums, lecture, press and conference halls, sport venues, stadiums and polyvalent halls.

Thanks to the acknowledged excellence of our designs and the quality of our seats, we continue our international expansion. With projects implemented in more than 80 countries, our exports exceed 70%. Cinemas are our main line of business; we offer a complete range of products in line with current trends. Whether it is a very large or small project, we have the capacity and commitment to always produce the highest quality and guarantee the best service. This includes the planning out of projects through our technical department, consultation from our experts on seating, the manufacturing and installation of the seats and, finally, follow-up once the project is completed to ensure customer satisfaction.

We manufacture everything entirely in our factory, located in Ezcaray, without outsourcing anything thanks to the various workshops on site. This ensures quality, daily tracking of orders and the ability to customize product designs and create new models when needed.

Should you wish for more information, please feel free to access our website or social media accounts.

Simply Epic!

CREATE OUSTANDING CINEMA IN MOBILE AND SMALLER THEATRES

Enjoy captivating movie experiences, lower TCO, easy lamp replacement, and lower lamp costs, with the compact, lightweight and quiet NEC NC1000.

Highly flexible with floor and ceiling installation and versatile content playback, the NEC NC1000 is ideal for Art Houses, Mobile Cinemas, Cinemas in Universities and Public Buildings.

Visit sharpnecdisplays.eu

Keeping you connected

RHM Telecommunications are a key technology partner of OMNEX & Motion Picture Solutions.

As part of Motion Picture Solutions’ drive to deliver content digitally, RHM have supported them with rolling out Broadband services into Cinemas across the UK.

RHM are here to support the Cinema industry with advice, consultancy, products and services.

Energy Costs

If you negotiated a long-term contract before the rise in energy prices then you may be in for a big shock when it comes to your next renewal. Right now though you may be able to negotiate a reasonable renewal, as due to a warm winter prices have fallen sharply.

RHM offer an Energy brokerage service that tracks the top 23 UK suppliers. Simply send us a bill to enquiries@rhmtelecom.com and we will give you a free report on how your current package would compare to what is available in the market today.

https://www.rhmtelecom.com/energy/

Internet

There has been an explosion in investment-backed alternative fibre providers rolling out Fibre Broadband. This has resulted in the market for Fibre Broadband becoming very fragmented. It might sound complex, but working with an alternative provider can save you money.

It is estimated by some analysts that by the end of 2026 35% of the UK’s Fibre Broadband will not be supplied by BT Openreach.

It’s a perfect alternative to a leased line connection that can end up costing cinemas hundreds every month.

To see the services available in your area, use our broadband checker at https://www.rhmtelecom.com/broadband-checker/

BT’s Big Switch off

At the end of 2025 BT is intending to switch off all their traditional telephone lines.

These are lines that Cinemas use to deliver Broadband, alarm lines, lift lines, or phone lines connected to a telephone system. Businesses need to start thinking about how they are going to navigate this change, RHM can help.

We can help you put a plan of action together to assess what you have on your estate now and how you can get 2025 switch-off ready. More information is available at https://www.rhmtelecom.com/isdn/

Omnex October newsletter

“It’s been a very busy year so far for our product managers,” writes Christie c i n e m a s a l e s m a n a g e r P h i l Lo rd , “ w

enhancements across the entire product portfolio. It’s my pleasure to introduce the readers of the Omnex newsletter to our new IMB-S4, our partnership with Powersoft in combination with Vive Audio, and the new experience of CINITY in Europe. Read on, friends, and know I am just a phone call away to help you find the right solution for your cinema.”

Built on experience to deliver premium cinema experiences

Christie® IMB-S4 is a low-cost, long-lasting, f eat u re - r i c h m e d i a s e r v e r f o r C h r i s t i e CineLife+™ Series 4 cinema projectors that converts and delivers packaged feature film content within a secure, DCI-compliant environment. Ultra-fast CineLife+ processing electronics and the IMB-S4 gives exhibitors everything they need to offer audiences a p r e m i u m m o v i e g o i n g e x p e r i e n c e .

Integrated within our intuitive CineLife+ web UI, IMB-S4 enables out-of- the-box HFR playback of up to 4K at 96fps and comes with 1.8TB of integrated SSD storage and an incredible 40-year shelf life

Vive Audio. Powered by Powersoft.

An epic combination with seamless integration Drawing from their truly pioneering developments, Powersoft’s Duecanali and Quattrocanali amplifiers offer amazing sound quality and pair exceptionally well with our Vive Audio loudspeakers Featuring the latest advances in switched-mode technology, Class-D design, and high-power capabilities, these class-leading, energyefficient amplifiers also feature numerous developments including Smart Rail Management technology that helps lower overall power consumption in a compact design.

Models available in DSP, DSP+, and DSP+D variants:

CINITY for PLF Theatres

For exhibitors looking for the ultimate premium large format experience, the CINITY system offers a creative blend of 4K, 3D, high brightness, high frame rate, enhanced contrast, and wide color gamut display capabilities, paired with immersive sound. Christie provides high-performance digital projection technology and services to CINITY Cinema Systems as their projection partner and authorized reseller.

Features:

Ultra-fast video processing with 4K 120fps DCP real-time decoding 4x faster speed with high bit rate capability up to 1250mbps

RGB pure laser illumination using Christie Real|Laser for brighter 2D and 3D images

Perfectimage alignment and automatic calibration with Christie Mystique Cinema

Leading the way with energy efficiency

Caring for the environment is everyone’s responsibility. Whether it’s reducing the a m o u n t o f p ro d u c t p a c ka g i n g o r building products that turn less energy into more lumens, we can make a difference. At Christie, we prioritize building greener solutions to minimize our impact on the environment. And our exhibition partners tell us that reducing projection energy costs is one of their key priorities too.

It’s why our new cinema projectors with Real|Laser™ illumination technology are e n e rg y - e ffi c i e n t , o u t p u tt i n g m o re lumens per watt than the competition, as well as sustainable, with long-lasting light sources for more than 50,000 hours of DCI-specified on-screen brightness.

HEAR MORE

SR-1000 IMB

Built-in Professional Cinema Audio Options

®

DTS:X™ for IAB Immersive Audio

Delivering True Cinematic Immersion with Best-in-Class Partners

Samsung Onyx LED

COMING SOON

• ScreenX

• Unilumin UCine LED1

SR-1000 IMB delivers up to 32-channel DTS:X for IAB immersive audio using Audio over Ethernet2

DTS Surround Cinema. Dedicated to Sensational.

powered by

• Uses existing DCP 5.1/7.1 audio

• Optimized X-curve for stunning sound quality

• Cost-e ective

• Path to DTS:X for IAB immersive audio

1 Available as an option in Q3 2023

2 AES67 available as an option in Q4 2023

Five minutes with the Man Behind our Operations

Step into the world of cinema technology with Nigel, our Operations Manager. In a quick five-minute read, discover his journey, challenges, and vision for the future

How did you get into the field of cinema technology?

Well, after being made redundant from my part time job of two yearswhilst studying (I served up Jacket Potatoes in a food court in what at the time was Europe’s biggest shopping centre, so I believe) I joined the local multiplex cinema as a Cinema Usher. An internal vacancy came up for something called a ‘Projectionist’ and although I didn’t really know what it actually entailed it sounded interesting! So I applied and the rest was history. The first film that ever dug deep into the tip of my finger and thumb was ‘The Goofy Movie’, a kids club treat! I spent the best part of ten years doing this, in which time I became the Technical Manager. I briefly worked at another cinema and attended a ‘Digital Cinema’ training course. After submitting my CV to Darren Briggs, I joined Arts Alliance Media as a Digital Cinema Engineer in November 2006 Today, I find myself as the Operations Manager at Omnex.

Can you briefly describe your current role at Omnex and what it entails?

As the Operations Manager at

Omnex, I feel I am still new to the role and still finding my way a little. I hold line manager responsibilities for the team of engineers and also instrumental in planning and organisation. I am working hard to get the best out of our resources from the engineer team to the customer support team. One thing is for sure, every day is different!

What is the most challenging or rewarding project you’ve worked on, and how did you overcome those challenges?

The most challenging project I have worked on would be at a University, we were subcontracted to a large construction company. It was a steep learning curve having to quickly learn to adapt to working in new and challenging ways. There were many difficulties throughout, too many to mention. But, this helped develop a number of skills and ways of working that I had not had to do in my previous tenure. Also, for anyone who is familiar with my plain dietary requirements, spending many weeks working in and around Italy was somewhat difficult for me, learning the Italian language for how to order food without olive oil was a life changing moment!

How has your role evolved since you joined the company?

One thing is for sure, every day is different!

Having worked in cinema for many many years I kind of consider that to be the ‘company’. Who I happen to work with is just part of the journey. So, my role has evolved extensively. Of course, I am very proud to be a member of Omnex but my journey has seen me cleaning auditoria, signing toilet check sheets (and actually doing the checks), showing people to their seats, serving popcorn and cleaning the kitchen. I’ve sat all day at the box office (I much preferred that way of selling tickets) and I have stood infront of hundreds of unhappy customers when things haven’t quite gone to plan. I’ve threaded many a film and surely have run thousands of shows to probably over a million people. I have travelled extensively around Europe, and beyond. But most importantly, I have met and worked with many great people along the way. My current role allows me to have a strong influence on the success of cinema and the people that work within it, both within Omnex and out in the industry. This is why I truly am grateful that I have the opportunity to work closely with others to continue contributing to each individuals success and the success of the industry as a whole.

What technologies or trends in cinema technology excite you the most?

I really like the concept of PLF. I think it is particularly interesting as it uses a combination of lots of great technologies to try and immerse you into the movie. PLF allows the boundaries to be pushed and surely promotes an interest in developing new technologies to help drive the cinema experience forward. What’s one technological innovation in cinema that you wish you

had invented?

Simple, Immersive Sound! On my first day as a projectionist my first question was something like ‘Is the sound different from each of the surround speakers’? I was shocked to find it was Mono!

Could you tell us about a specific project you’re proud of?

Helping role out the UKCA Digital Screen Network role out. This is where it all began. It was a great achievement to get a digital projector in so many locations around the UK. Of course, at first, a lot of them sat unused, sometimes deliberately. But eventually use of the projectors gained traction and quicky opened up a number of new opportunities for cinemas world-wide.

How do you see technology shaping the future of cinema?

I really don’t know. I suspect the overall experience is something that is crucial to gain and maintain audiences, an environment that complements the time you spend watching the movie. Fancy foyers, comfy seats. For me, a great picture on an appropriately size screen in a very dark room with great sound is all I need. It’s about getting the simple things right!

What’s your favourite part of being on the Omnex team?

My favourite part of being part of the Omnex team is being able to listen and learn from a variety of very different personalities. It helps me analyse my own thoughts and develop new skills. There isn’t a day or week that goes by where I am not able to take something new from the team. Also, I am able to offer assistance and support to my colleagues too.

The first film that ever dug deep into the tip of my finger and thumb was ‘The Goofy Movie’, a kids club treat!

Lights, Camera, GDC! The Untold UK Story

From Humble Beginnings in Hong Kong to Global Impact: Omnex Catches Up with GDC’s UK Team to Uncover the Secrets Behind Their Success.

At Omnex, we’re committed to showcasing the finest cinema technology – with a focus on providing the best-value. So, in this update, we invite you to discover more about our partners at GDC Technology. Whilst they are known as a leading cinema media server and theatre management/ automation innovator, with their global headquarters is in Hong Kong, GDC has been quietly revolutionizing the UK cinema scene from their European base in London and Barcelona, offering a multitude of game-changing solutions that merit some real attention.

Let’s wind the clocks back a little Founded in 2000 by Dr. Man-Nang Chong, GDC Technology initially rose to prominence through pioneering advances in digital motion picture processing. Dr. Chong, who once benefited from a scholarship while studying in Scotland, has created a legacy that now extends to the UK. GDC’s broad portfolio of hardware and software products and services has

been designed with one goal in mind: to enhance the cinema-going experience for audiences worldwide.

Since 2011 GDC has grown its support to Cinemas in the West. It’s the company’s dedication to local markets, which is – perhaps unknowingly until now – backed up by their strong UK presence. “Many might be surprised to learn about our 13 global sales offices, including one in the UK,” states Cristina Vazquez, Sales and Office Manager for GDC Europe. This dedicated team along with Omnex ensures GDC’s UK clients benefit from our swift support services.

Adam MacDonald, European Sales Manager for GDC, adds, “We offer a comprehensive suite of products, from media servers through to new audio solutions, that enable cinemas to deliver a high-quality experience with a key focus on price. Our UK operations ensure that cinemas get the best out of their GDC equipment and working alongside Omnex allows us to achieve this.”

One of GDC’s flagship products, the

Many might be surprised to learn about our 13 global sales offices, including one in the UK

SR-1000 IMB, embodies this commitment to excellence. With over 24,000 units sold worldwide, this nextgeneration server features advanced audio and video processing capabilities that support the latest immersive audio formats like Dolby Atmos and DTS:X for IAB, which GDC licenses from DTS, Inc. for the development of its media servers. It’s one of the main server products we have been supporting and installing since the pandemic era. Adam MacDonald, points out, “The SR-1000 is more than just a server; it’s a catalyst for unparalleled cinematic immersion. We offer unbeatable value with this technology and having regular stock in the EU office means we can deliver fast!” MacDonald adds, “Integration with a wide range of projectors is also extremely important and we have solution for all DLP Cinema digital projectors including everything from Series 1 right up to the latest Series 4 models – and also for the Sony R320!

We are integrated with all major 3rd party TMS products and, of course, we are happy to discuss our own TMS-2000, which is a Top 2 global TMS by screen count!” As they continue to contribute to the UK cinema industry’s digital transformation, GDC remains a partner worth watching, and we at Omnex are excited to be a part of this journey.

Our Expertise. Your Technology.

With the very best engineers across the UK, keeping you on screen is even more cost-effective.

OUR SERVICE PLANS ARE MORE AFFORDABLE WITH PAY-MONTHLY PLANS FROM JUST £59 PER MONTH

In a nutshell? Our pay-monthly service plans are now more affordable than previous annual service contracts and — for plans that don’t already include 24/7 callouts — we’ve made our callout fees cheaper.

Our pay-monthly plans mean you don’t need to pay in full and up front on your service contracts — a benefit we hope will really help you. And whether you choose to pay monthly or not, the annual cost is the same — there’s no penalty for improving your cashflow.

Sign up to any of our monthly plans and the following are included:

We aim to save you money, improve cashflow, and keep you on screen - all for as little as £59 p/month.

You can sign up to a our Silver, Gold or Platinum service plans, which combine Omnex’s daily telephone support and remote intervention.

Our engineers are geographically spread across the UK to provide outof-hours support 8am - 10pm daily.

All of our support plans provide you with access to our online shopping portal for further discounts on Lamps and sundries.

Five minutes with our Engineer Geoff

How did you get into the field of cinema technology?

The short answer is ‘by accident’! I went to Southampton University to study Biochemistry, but during Freshers’ Week, the student cinema was looking for trainee projectionists, and I thought it sounded interesting…

A longer answer would be that my father—who spent his entire career with British Telecom—was the ‘go-to’ man for many things electrical-technical at our local Methodist church. I would ‘help’ him run the lights for the associated amateur dramatics society from as early as I can remember. There was also a monthly Saturday morning kids’ film club for which he was inevitably the projectionist. I was generally more interested in the little Rank Aldiss 16mm projector than the adventures of The Magnificent 6 ½—amongst other Children’s Film Foundation serials!

Can you briefly describe your current role and what it entails?

I install, service, and repair projectors (digital and analogue), sound systems, automations… just about anything found in a modern projection room, in fact. This involves a lot of travel! While a lot more can be done remotely, in terms of troubleshooting and updates, than was possible in the days of film, cleaning and calibration can only be done on site. It’s

really quite difficult to summarise the job—it’s so varied! While we spend a lot of time on service work—typically involving software and firmware updates, deep cleaning, coolant changes, sound and picture calibration— which can get a little repetitive, there are so many other things: AV distribution systems, networking, library servers, catch servers, the occasional knotty problem with no immediately obvious cause or cure. I’m also the engineer closest to the warehouse, so I do a fair amount of test and prebuild work, too. And I still get to play with ‘reel’ projectors from time to time, which I might grumble about, but do enjoy really!

How has your role evolved since you joined the company?

As I’ve gained experience, I find I’m more often asked for technical advice or ‘How do I…?’ than was the case five years ago when it was very much me asking the questions!

What technologies or trends in cinema technology excite you the most?

I am probably most excited by the drive to greater energy efficiency—the climate crisis is upon us, and it is very pleasing to see my industry addressing its carbon footprint. Most obviously, laser projectors save massively by not wasting so much energy as heat—saving not just

Based in Faringdon, our experinced Engineer Geoff Newitt has been working in the cinema world since 1991… and has more than a few stories to tell.

I am most excited by the drive to greater energy efficiency— the climate crisis is upon us.

on illumination costs, but also in cooling and ventilation. The latest generation of power amps are also much more efficient—again, less energy wasted as heat, less cooling required. And we are now reaching a point where distribution of content is almost completely ‘dematerialised’—no more hard drives shipping around the country in trucks and vans has to be a good thing!

What’s one technological innovation in cinema that you wish you had invented?

Perhaps the original DTS sound system. I find the reinvention of the 1920s’ ‘sound on disc’ idea, but with a robust and title-specific timecode on the print, coupled with players largely made out of standard computer components to keep the costs under control, extremely pleasing.

How do you see technology shaping the future of cinema?

Before the pandemic, I was involved in a handful of 4D systems in Europe, and some of the cinemas we were working in were beginning to experiment with Virtual Reality, amongst other technologies. Personally, I don’t see either of these becoming mainstream—4D is really a ‘Marmite’ product; VR seems to lack the collective experience fundamental to cinema.

I think there is more potential in the continuing miniaturisation, improving efficiency, and falling costs of the technology—I think this could make smaller cinemas, perhaps in nontraditional spaces, more viable, as they become cheaper to build, equip, and run. There hasn’t been a cinema in my Oxfordshire market town for over 50 years, for example—and at least twice as

many people live here now! I like to think that as the entry costs fall, someday I’ll have a cinema on my doorstep. We are already seeing arts centres and town halls equipping multi-purpose rooms with cinema standard equipment; this is absolutely enabled by the changing technology.

If you were stranded on a desert island with access to only one movie, what would it be?

This is most unfair—Radio 4’s Desert Island Discs allows you eight records, plus a book and a luxury item!! Last time I tried this exercise, I got the shortlist down to about 50…

Really pushed, I’d have to say 2001: A Space Odyssey, simply because it means something slightly different to me every time I watch it.

Have you ever tried fixing a tech issue at home and failed hilariously? Do tell.

I don’t know about hilarious, but I am no plumber! It doesn’t take much water in the wrong place to make a real mess… whether because I made a hash of fitting a new radiator in my home office, or nailed a floorboard through a central heating pipe…

What’s your favourite part of being on the Omnex ProFilm Limited team?

Honestly, it’s just being part of a team! They’re great guys, and having previously spent many years in a department of one, I really appreciate having people around to ask for advice and assistance… or even just for a bit of company when working away! Having a warehouse, and a team there who specialise in logistics, and deal with accounts and suppliers, is also a great help—it’s quite a load off, not having to stress about those parts of the job!

Honestly, it’s just being part of a team! I really appreciate having people around for advice and assistance.

We’ve got our eyes on you... but in a good way!

Omnex’s NOC+ services help to keep your cinema systems online day and night. Darren Briggs illustrates the benefit of our brand of 24/7 surveillance.

AT OMNEX WE have a 24/7 monitoring system, which forms the backbone of the NOC+ services that we deliver to our customers. For added peace of mind, our NOC+ services are backed up by our engineers who are on call 8-10pm every day of the year, with the exception of Christmas Day.

To provide an efficient service, we make use of a custom ticketing system. This system allows us to manage and communicate information to cinemas in a timely manner, and it also supplies service reports which are emailed out to cinemas after one of our visits has taken place. This ensures your own information is kept fully up to date.

AT THE HEART OF the NOC+ services are the monitoring systems and the

associated tools that alert us to a variety of issues arising in any device connected to our NOC service — for example, a degraded RAID or a fan failure.

To allow connection, we work with the cinema and update to a dedicated IP range assigned to your cinema to benefit from this service. All existing customers are currently being added as we update out-of-the-box standard IP schemes in use at cinemas.

WE HAVE MULTIPLE staff each day providing the NOC service. They are all contactable via our new phone system which allows calls to be directed straight to the engineers on duty.

Our systems also provide the ability for engineers to connect securely into the monitoring system and, therefore,

Red notice? The lamp on site has a run-time warning

they can support any cinema remotely from anywhere in the world.

Existing customers will already receive ticket alerts from our custom Cinema Ticketing System when any issues are raised either by the cinema or through pro-active intervention from Omnex.

SNMP is the backbone of the monitoring system (see the panel on the right for a detailed explanation). Every screen has, on average, at least four devices to be monitored. In turn, each device then reports multiple items (i.e. model, serial, software, firmware, lamp/laser, lens, fans, temperatures, interlocks, security, status and information).

OUR SYSTEMS monitor thousands of devices connected to hundreds of screens internationally. On average, 30 items are monitored per device. That means tens of thousands of separate items monitored, delivering resilience to customers’ businesses. Data such as fan speeds and temperature are logged to provide a detailed equipment history, while certain items automatically alert us if an error demands an engineer be sent to investigate and resolve it. We can identify lamps nearing end of life, fans running slowly, software which requires upgrading and other items, all of which contribute to the integrity of our support.

To join the world of Omnex and gain peace of mind that your system is being looked after, contact us to discuss the various support offerings.

SNMP? It’s a system lifeline

SIMPLE NETWORK Management

Protocol (SNMP) is a protocol used primarily for the monitoring of networkconnected devices — and it’s fairly fundamental to the way your cinema systems operate, writes Omnex service engineer John Caswell

Embedded into most modern network devices, such as your projector, server, sound processor and router, SNMP has been about in some form for more than 30 years. And here’s why it’s so important — SNMP allows for passive monitoring and for networked devices

SNMP actively flags your system errors — like a cry for help

actively to send out messages in case of errors and failures, like a cry for help.

We use SNMP for our Monitoring Server, which is a part of our Network Operations Centre (NOC). This allows us to monitor your equipment for errors and equipment failures (aspects such as fan and hard drive health, temperatures etc), usually allowing us to pick up on any issues before they develop into drama. We’re also able to monitor when you may need a new lamp for your projector. Any supported cinemas to which we have a remote connection, can be on our Monitoring System. It’s a handy service that can prevent problems before they occur, so give us a call if you’d like to know more!

A national team... and we’re still growing.

We’re still here, doing what we love—supplying cutting edge, value-driven sound and projection technologies to cinemas throughout the UK and Ireland. It’s a mission close to our hearts, one we’ve been dedicated to since our founding year in 1986. As we continue to adapt to the fast-paced changes in cinema tech, we thought it’s time to reintroduce ourselves. With our bustling London office and a strategically located warehouse in Aylesbury, our team has grown to a robust 15 members. That’s not even counting the fantastic support we get from the MPS engineering crew and our specialised team of seating technicians. So, yes, our national reach is better than ever, and we’re more than ready to cater to the unique needs of cinemas, big or small.

From in-depth training for our engineers to an expanded portfolio of technologies and a well-thought-out emergency stockpile, we’re all in on our mission: to make the cinema the ultimate place to watch a movie. We owe a big ‘thank you’ to our loyal partners and clients, some of whom have been with us since the very beginning. The future’s looking bright, and we can’t wait to continue this journey with you, shaping the next chapter of ‘an Omnex Cinema.’

SIMON TANDY Managing Director, London

Simon started in cinema in 1995, working in indies and multiplexes, then creating the product LANsat for live events and DCP delivery.

CHANTAL GUTHRIE: Head of Seating

Chantal manages a team of nine seating technicians, directing installations — as well as managing more than 44,000 seating checks across Europe.

STEVE CASE Technical Sales Manager, London

“32-years man ‘n boy” Steve has vast knowledge of mechanical and digital systems to support cinemas’ installations.

RICHARD LYON Warehouse Operations Support

Rich supports our warehouse operations and also provides vital support to our service engineers on bigger jobs.

AMY

PERRY: Admin Support

Joining us in 2022, Amy

Supports the Warehouse and Engineering Team, with a keen eye for the business and her photography skills

DANNY LOVERIDGE Warehouse Operations Supervisor

Danny started at Arts Alliance Media in 2011 as a warehouse assistant and is now responsible for our Warehouse.

NIGEL PRIEST

Asst Engineering Manager, W. Midlands

Nigel’s first role in cinema was as an usher at UCI, He joined AAM in 2006, helping to roll out digital projectors for the UKFC.

TONY EVERETT-SPEARING:

Service Engineer, Suffolk

Based in Suffolk, Tony is an experienced Omnex engineer and considered our expert wireman — he creates order out of chaos in any installation.

KRIS BELL:

Cinema Engineer, Sussex

Before Omnex, Kris worked in technical theatre. Today, as many cinemas become more multi-functional, his advice on live sound and lighting is

JOHN CASWELL:

Service engineer, Liverpool

John has been a field engineer for more than a decade — prior to that, he was the chief projectionist for FACT in his home town of Liverpool.

DARREN BRIGGS

Head of Engineering, York, Starting his cinema life in 1999 for City Screen, Darren was instrumental in training several hundred projectionists in the digital rollout nationwide.

Mark Bailey

Cinema Engineer, London

Having been and engineer for IMAX, Christie, Dolby Vision and MPS premiers, we welcomed Mark to the Team in April 2023

BLADE FRAMPTON

Cinema Engineer, South West

Starting as a projectionsit some 25 years ago, Blade was the Technical Manager for Merlin Cinemas prior to joining.

PETE NAPLES:

Senior Engineer, Scotland

Based in Dunfermline, Pete has been a cinema engineer since 1998. He has also worked in television production and is a keen photographer.

GEOFF NEWITT:

Service engineer, Oxford

Formerly head of tech ops at Picturehouse, Geoff has been working in projection rooms since his student days; joining Omnex in 2018.