Omnex Spring Newsletter 2024

IN THIS ISSUE

Behind the lens: who took this fabulous photo?

Financing with Omnex

- Managing a bright idea

The opening of the new Merlin Weston super Mare

Julie Edwards Photography: Congo

06 Hot off the press - Find out the offerings of this years UKCACON24

08 Tom Linay brings food for thought, champion home grown content!

10 Merlin CInemas - a new era in Weston Super Mare.. and organ too

12A new partnership - Why financing your cinema equipment is a bright idea

44Sit back & relax! Robert Johnson talks us through Omnex Seating

46Media CInema have installed Dolby DAS across their venues

48LLU & audio upgrades : what does it mean for The Orion?

54Tea time: Spend fivemiutes with... our newest recruit Peter

P.15 You’ve seen her at the UKCA events, but who is taking these fabulous photo’s

- Hauge Conference

A time to blossom

As the tress start to blossom and we welcome the Spring, it’s the perfect moment to pause and appreciate the recent months - that have been quite the ride - for the UK cinema industry. Here at Omnex, we’ve been right in the thick of it, supporting the magic of cinema with our services, innovations, and a keen eye on sustainability.

In this edition of our newsletter, we’re diving into stories of resilience, innovation, and those wonderful moments that remind us why we love what we do. Let’s not get too caught-up in the content-troughs we’ve been seeing, there’s also been a season of highs - from the box office success of Dune Part II , hauling in a spectacular £32 million in its opening weekend in the UK, to the delightful surprise of BobMarley:OneLove , surpassing everyone’s expectations. And certainly not forgetting the sweet victory of Wonka , opening the year with a taste of the fantastical.

You’ll read a piece from Tom Linay, Digital Cinema Media, who – at the UK Cinema Associations national conference – reminded us of UK home-grown and independent cinema content, that may help us ride the waves.

For us, at Omnex, we’ve been busy, not just keeping up with the latest blockbusters but also ensuring we’re at the forefront of technological advancements in cinema. We’ve grown our team, welcoming Peter Knight and Glen West, two engineers who are already making a significant impact. And, with Rebecca Rau joining us as Exhibitor Relations Manager, we’re

strengthening our commitment to the cinemas we serve, ensuring they receive the best possible service and support.

From the nostalgia-infused screenings at the Mockingbird to our collaborations with MediCinema and Merlin cinemas, we’re reminded daily of the magic that cinema brings to our lives. It’s not just about the films but the experience - from the projection box to the last row in the auditorium; we have some great stories and updates to share.

In a world where every little bit counts towards making a difference, we’re also taking significant strides in sustainability. Whether it’s installing energy-efficient laser projectors or considering our carbon footprint, we’re committed to designing installations that not only enhance the cinematic experience but do so responsibly.

And, as we’ve all learned the recent expression “cautiously optimistic,” we’re leaning more towards optimism these days. Sure, the cinema industry has seen its fair share of ups and downs, but if cinema-history has taught us anything, it’s that we always come back stronger.

Here’s to a summer of box-office, innovation, and, most importantly, unforgettable cinema experiences. Thank you for being part of this journey with us. We’re here when you need us, ready to support the next challenge and celebrate the next success.

Simon Tandy, MD, Omnex

UKCA ANNUAL CONFERENCE 2024: GROUNDS FOR CAUTIOUS OPTIMISM…

With thanks to Phil Clapp, here he shares insights on the UK cinema’s postpandemic rejuvenation, with a focus from a pivotal UK Cinema Association two-day conference at BFI Southbank, London, on March 5th & 6th 2024

AS 450 DELEGATES FROM ACROSS THE UK CINEMA SECTOR AND BEYOND gathered at the BFI Southbank earlier this month, all minds were undoubtedly focussed on one over-arching ambition – to ensure that the recovery of the sector since the pandemic is maintained, and not allowed to stall in the face of current challenges.

The title we had chosen for the event – Growing Audiences for the Big Screen Experience – was intentionally broad, allowing us over two days to explore a range of issues around audiences and content.

While the impact of last year’s strikes in the US as well as on-going cost of living issues are undoubtedly still being felt, the positive response of audiences when major titles are released remains a cause for celebration, a point amply illustrated by Dune Part II’s £32 million haul the weekend immediately before the conference.

But such tentpoles are currently fewer and further between, in particular during the first half of this year.

And as made clear during a session by Ruth Hinton of Vue International, on behalf of the cross-

industry body Cinema First, as far as is practicable all of those who were cinema-goers before the pandemic havenow returned. It is in lower levels of frequency amongst almost all age groups that we are seeing the ‘gap’ between rates of cinemagoing in 2017-2019 and now.

So if the sector is to continue its recovery it must find ways both to broaden the pool of audience members and to ensure more frequent visits.

Several sessions across the two days focused on better use of digital channels to reach potential audience members, including ‘film discovery’ tools allowing audiences to find less obvious titles, maximising the ‘visibility’ of websites in a World where the majority of tickets are sold following online search and a deep dive into the use of newer social media platforms such as Tiktok and Reddit.

But there were also looks at specific projects or approaches such as the Danish Cinema Club and the developing work of We Are Parable, as well as more traditional approaches such as the BFI Film Audience Network in bringing together cinemas

of all shapes and sizes around a single audience development objective, or the increasing value of ‘repertory cinema’ as part of the content mix, drawing in a different and often highly engaged audience.

And there was a chance to shine a light on some of the changing approaches taken around film marketing, whether cinematic juggernauts such as Barbie and Wonka or smaller more niche films such as How to Have Sex, Passages and Priscilla, all presenting their own challenges and opportunities.

A HIGHLIGHT FOR MANY was the forthright and straight-talking demonstrated of the four young people from Into Film Youth Advisory

Council who – while perhaps more cine-literate and committed to the Big Screen than most of their age group – clearly had strong views on what the sector was doing right, and equally on what it was doing wrong.

The tone for the two days was though perhaps best set by the executive roundtable which kicked off day two, bringing together senior representatives from Vue International, Cineworld Cinemas, Savoy Cinemas, Warner Bros and Walt Disney, each of whom - for a variety of reasons and in a variety of ways – confirmed their ‘cautious optimism’ for the coming year, but greater confidence in the months and years to follow.

Cinema’s Spring Awakening: Unveiling Hidden Gems and Upcoming Triumphs

Digital Cinema Media’s, Content Business Director - also known as Tom Linay - spoke at the UKCA’s National Conference on the 6th March. It was the presentation that set stage for a discourse that would navigate through the current landscape and future prospects for the UK cinema industry.

Amidst the backdrop of recent challenges, including the ripple effects of last year’s industrial actions across the pond, Tom’s insights offered a beacon of optimism. Here, we take a look at Tom’s analysis and strategic recommendations in the hope to equip exhibitors with the knowledge and tools necessary to captivate diverse audiences and ensure the vibrancy of cinema-going experiences.

WE’RE NOW IN MARCH

An unwavering commitment to strorytelling in all its forms

and for me the onset of Spring is marked each year by the annual UKCA conference. Some people think of daffodils and blossom, I think of Phil Clapp and tables of pain au chocolat. This year at the conference there was a specific focus on growing audiences, and while there’s been some hugely encouraging signs so far in 2024 - from awards season titles proving popular once again, Migration delighting the family audience, and Bob Marley: One Love surpassing everyone’s expectations - there’s still going to be bumps in the road ahead from the ongoing impact of last year’s industrial action in the US.

The biggest films of 2024 appear to be in cinemas from July onwards, with Q4 looking particularly strong, and while Q2 isn’t quite as packed, it does give exhibitors and distributors an opportunity to spotlight smaller titles

and as we’ve recently seen with Anyone But You, Poor Things, and Saltburn, cinemagoers are looking for exciting, original films.

As part of my presentation at this year’s conference I’m highlighting 8-10 smaller films that hit cinemas over the next few months that exhibitors may not yet be thinking about, and was joined by Lauren from Vista who used their data-driven insights to help exhibitors optimise marketing strategies for these releases.

IMMACULATE. After Anyone But

You, Sydney Sweeney’s star is higher than ever and she can next be seen at the end of March in spooky horror, Immaculate, as a nun who moves to a new convent after which disturbing events start occurring.

MONKEY MAN looks like one of those thrilling action films that is set to

be a new franchise. Dev Patel, writes, directs and stars in this Mumbai-set thriller, and Jordan Peele persuaded Universal to pay Netflix $30m so it could have a cinema release. This one looks to be filled with good stories on and off screen.

SEIZE THEM! I think it’s no secret we need more commercial homegrown films in cinemas and Seize Them! is a British comedy in the vein of Monty Python and the Holy Grail, featuring a host of British talent, including Aimee Lou Wood, Nick Frost and Nicola Coughlan.

CIVIL WAR sees one of the UK’s best filmmakers Alex Garland, touch on simmering tensions in the US in a dystopian sci-fi. Zendaya is set for a big first half of the year and less than two months after Dune: Part II is Luca Guadagnino’s Challengers, a romantic drama set around the world of tennis.

LOVE LIES BLEEDING is British filmmaker Rose Glass’ follow-up to Saint Maud and stars Kristen Stewart and Katy O’Brian in a brutal crimethriller that has already received five stars from Robbie Collin.

HOARD is the debut film from Luna Carmoon and continues the recent incredible run of British female-directed debut features and follows the close bond between a mother and a daughter.

THE LAST WORD... I thought it was worth highlighting that after Apple’s recent success in cinemas with Napoleon and Killers Of The Flower Moon they have two more high profile releases hitting cinemas over the summer, firstly with the as yet Untitled Scarlett Johansson/Channing Tatum romantic comedy in mid-July, and then the George Clooney and Brad Pitt crime thriller, Wolfs in September and both titles coming via Sony.

So while there might not be huge Wonka-sized blockbusters over the next few months (unless something surprises us), that gives some smaller, original titles the chance to really find their audience.

Tom Linay, Digital Cinema Media

Image courtesy of Black Bear Pictures: IMMACULATE

Julie Edwards photography: Zendaya at this years Dune 2 premier

Behind the lens: A Conversation with Julie Edwards

At the heart of UK cinema, amidst national conferences and Christmas cheer, Julie Edwards stands out. With her camera, she gracefully captures the spirit of UKCA events, silently documenting the industry’s most joyous moments.

Julie’s work transcends these settings, capturing the glamour of global red carpets like the Oscars, BAFTAs, and Cannes. Starting as a North London girl inspired by her father’s press photos, she has become a masterful storyteller, her photography weaving tales of dedication, passion, and artistry.

We delve into Julie Edwards’ career, revealing how her photographs tell stories, capturing cinema’s magic and the ephemeral beauty of its celebrations. From UKCA’s lively events to the glitz of international festivals, Julie offers a glimpse into the entertainment world’s soul, immortalizing its emotions, stories, and unseen narratives.

Q: Julie, could you tell us about your background and what sparked your passion for photography?

A: Growing up in North London, my early exposure to the world of imagery came from my father, who worked in the press. The photography from The Times, Sunday supplements, Life Magazine, and National Geographic, which he brought home every week, fed my burgeoning love for photography. It was this early influence that set me on

the path to becoming the photographer I am today.

Q: Your work is renowned in both the UK and internationally, especially within the entertainment industry. Can you share more about the range of events and subjects you’ve covered?

A: Absolutely. My career has taken me around the world, from Europe—covering events like the BAFTAs, Glastonbury, Cannes, and Berlin Film Festivals—to the USA, where I’ve had the privilege of covering

The Oscars. But my work isn’t confined to these glamorous events; I’ve also been deeply involved in personal projects with charities, including recording post-conflict NGO support work in places as far afield as The Democratic Republic of Congo.

Q: It sounds like your photography business has evolved over time. Could you elaborate on the different phases your business has gone through?

A: My business has indeed

run through many phases, reflecting the dynamic nature of the industry and my personal growth as a photographer. Beyond the red carpet and film sets, I’ve found myself in studios creating portraits, at conferences and parties capturing the essence of the events, and even producing marketing images for exhibition venues. This diversity in projects keeps my work exciting and challenging.

Q: Your work often appears in the international press and on various media covers. What does it mean to you to see your work published in such a wide array of formats?

A: It’s incredibly rewarding. Nothing gives one a “buzz” like a front page of a national newspaper. Each publication

represents a story, a moment in time that I was able to capture and share with a wider audience. Whether it’s in books, on CD, DVD, and Blu-Ray covers, or in the international press, knowing that my work contributes to the narrative of these events and personalities is profoundly gratifying.

Q: Julie, your presence at major UKCA Industry events like the national conference and the Christmas party has made you a cornerstone of capturing our industry’s key moments. How does it feel to transition between these events and high-profile international spectacles like the Oscars and BAFTAs?

A: This variation is one of the key reasons I love my job. It switches from these large

globally branded, managed events where I am trying to capture a moment of “normality” or “timelessness” to, what can be quite intimate moments, (whether a matter of minutes or hours), with someone where I try to capture “them”. Opposite ends of the spectrum maybe but isn’t that what life is about?

Q: Reflecting on your illustrious career, could you share with us what your proudest moment has been?

A: The Foreign Secretary (then William Hague) and Angelina Jolie, Special Envoy for the UN High Commissioner for Refugees, co-chaired the Global Summit to End Sexual Violence in Conflict on 10-13 June 2014 at ExCel London. One of my images from The Congo (seen

Julie Edwards photography: Empire 1 in 2008 - My first Cinema internal image

on our contents page) was used in the press pack/marketing.

Q: Among the myriad of stunning images you’ve captured, is there one photo that stands out to you as your most cherished? What’s the story behind it?

A: In August 2010 I was on the red (black & white) carpet with Angelina Jolie for the premiere of SALT. I took an image of her with many press photographers behind her. A few days later I got a call from the big boss at the photo agency who very happily told

me the image had made a double-page spread in people magazine in the USA (back then a very big deal). That was the moment that I thought “I can do this/I’m good at this”.

Q: The path of a photographer is filled with unexpected challenges and humorous moments. Could you recount a particularly challenging or funny story from behind the scenes of one of your shoots?

A: Too many for this one piece and many I would not dare put in print. Some I use

during shoots to illicit emotions. Other, well let’s just say they are stories to be told over a drink or three... “I’m ready to collaborate and infuse your projects with my unique perspective and expertise in photography. Let’s create something memorable together!”

edwards_photo

Julie Edwards photography: Angelina Jolie at the premier of SALT

Merlin Cinemas – A New Era in Weston-super-Mare: A Blend of History & Innovation

Merlin Cinemas, a cherished name in the UK’s cinema industry, recently celebrated the grand opening of its newest venue in Westonsuper-Mare, marking a significant milestone in the company’s expansion and dedication to bringing quality cinema experiences to communities across the country. The history of Merlin Cinemas is a story of passion, resilience, and a commitment to the magic of movies, making its latest venture a testament to the company’s ongoing legacy and innovation in the world of cinema.

Founded in 1990, Merlin Cinemas started with a single screen in Cornwall and has since grown into one of the UK’s most respected independent cinema operators, with venues spread across Britain. The company’s mission has always been to serve local communities by offering a mix of mainstream, independent, and international films, providing a unique cinema-going experience that combines the charm of classic

movie theatres with modern cinematic technology. An ethos that was born to save cinemas that were closing and bring new cinemas to underserved areas.

The opening of the Weston-super-Mare cinema is particularly noteworthy for the retention and renewed use of the historic organ that resides within the building. This organ - a relic of the golden age of cinema - has been given a new lease of life, having had several special screenings take place with many more already planned. To Merlin, the revival was their nod to the golden age of film, preserving the cinemas heritage, while embracing the future of film entertainment.

Alex Jones, Operations Manager at Merlin Cinemas, spoke with pride about the company’s latest project: “The opening of our Weston-superMare cinema represents a significant achievement for Merlin Cinemas. We’re not just re-opening a cinema; we’re revitalising a piece of cinema

history with the renewed use of the organ. It’s a tribute to our commitment to the cinema experience, blending the nostalgia of traditional cinema with the technology of today. We believe this venue will become a cornerstone of entertainment in Weston-super-Mare, offering something truly unique for film lovers of all ages.”

The opening of the cinema in Weston-superMare are reflective of Merlin Cinemas’ broader goals: to create cinema spaces that are more than just places to watch movies, but are community hubs where the art of film and historical preservation coexist harmoniously. By investing in the communities it serves, Merlin Cinemas continues to foster a love for cinema that keeps the magic of the movies alive and accessible to all.

Since 2022, Merlin Cinemas partnered with Omnex, to enhance their technological capabilities and ensure the best movie-viewing experience. We’ve supported Merlin with various laser

Organ-ising the magic of the movies

projectors, with a recent project bringing AAMs suite of Screenwriter TMS and Producer software across Merlin cinemas.

Geoff Greaves, the owner of Merlin Cinemas, expressed his enthusiasm for the partnership with Omnex, stating, “Our collaboration with Omnex in recent years, is allowing us to look at the possible cost-savings of technology as well as bringing our individual cinemas to a circuit-level technical operation. We are really pleased to see the improved picture and sound quality.”

As Merlin Cinemas looks to the future, the Team remains committed to its mission of providing exceptional cinematic experiences, supporting the local communities in which it operates, and playing a pivotal role in the ongoing story of British cinema. The Weston-super-Mare cinema is not just a new chapter in the company’s history but a symbol of its passion for cinema and its dedication to the audiences it serves.

Why Financing Your Cinema Equipment is a Bright Idea

In the ever-evolving world of cinema technology, aging equipment and the end of the VPF, keeping your equipment up to date is not just an option; it’s a necessity. With the unpredictable nature of film releases, and other areas of the business to invest in, proper financial planning is an important consideration. Here we tell you more about financing and our partnership with Medialease.

Understanding the Costs and Benefits

Consider the scenario: You projector is showing signs of age, and you’re running out of plasters. The upfront cost of a new replacement might feel daunting, potentially diverting funds from other areas of your business that might need attention. However, when we introduce the option of financing, the landscape changes significantly. Spreading the cost over a five-year term, with manageable monthly payments, not only makes this essential upgrade feasible but does so without upfront payments. This approach ensures that your cash flow remains healthy, enabling investment in other areas of your business or simply providing a buffer for the unpredictable nature of box office revenues.

Moreover, it’s important to note the potential tax advantages in the UK for businesses that choose financing. Investing in critical technology through finance can often offer tax efficiencies, as payments can sometimes be offset against profit, thereby reducing the tax burden. This aspect, while it should be discussed with a financial advisor for tailored advice, represents another layer of benefit to the financing option.

Financing as Managed Investment, Not Debt

Our perspective at Omnex, especially in partnership with Medialease, is to view financing not as incurring debt but as a strategic, managed investment. It’s about empowering your cinema to stay at the forefront of technology, maintaining control over your operations, without the constraints of upfront costs. The absence of initial outlays or

deposits with our certain finance options ensures that the transition to better technology is as smooth as possible, aligning with our ethos of supporting cinemas in their growth and adaptation to changing times.

Why This Matters

Reflecting on the era of the Virtual Print Fee (VPF), where cinemas transitioned to digital projectors under strict conditions, our current financing options offer a breath of fresh air. They provide autonomy, allowing cinemas to upgrade without losing control over their programming choices. It’s a testament to how financing can be a tool for freedom and flexibility in our industry.

Looking Forward

For cinema owners contemplating the future, understanding the ins and outs of financing a projector or other technology upgrades is invaluable. It’s not just about preparing for an investment; it’s about strategic planning for sustainable growth and operational efficiency. By choosing financing through Omnex and Medialease, you can embrace technological advancements with the assurance that you are making a sound business decision, one that respects financial health and long-term vision.

We invite you to contact us to see what we mean. We have worked with a number of cinemas in this manner already, who are happy to share their stories. For detailed inquiries and to discuss how this can align with your goals, please contact: steve@omnex.co.uk

The Vibrant World of The Mockingbird Cinema

Image: Courtesy of The Mockingbird

Step into the heart of Birmingham’s indie film scene with Nigel Priest, our Operations Manager, as he unveils the charm of The Mockingbird Cinema, a hub for community, innovation, and the sheer joy of movies.

THE MOCKINGBIRD CINEMA,

Birmingham. Nestled in the heart of Digbeth, Birmingham, lies a cinematic gem that promises not just entertainment but an immersive cultural experience. The Mockingbird Cinema, with its unique blend of indie films, cult classics, and community events, has established itself as a cornerstone of the city’s cultural landscape.

As you step into the Mockingbird, you’re greeted by a cozy atmosphere infused with the aroma of popcorn and the anticipation of cinematic wonders. The venue’s eclectic programming ensures there’s something for every movie buff, whether you’re a fan of thoughtprovoking documentaries, spine-tingling thrillers, or heartwarming dramas.

What sets The Mockingbird apart is its commitment to fostering community engagement. Beyond screening films, the cinema hosts various events, including themed movie

nights, director Q&A sessions, and film festivals. These initiatives not only entertain but also bring people together, fostering a sense of camaraderie among film enthusiasts and creatives alike.

Moreover, The Mockingbird’s dedication to showcasing independent and niche films amplifies voices that often go unheard in mainstream cinema. By providing a platform for emerging filmmakers and unconventional storytelling, the cinema celebrates diversity and innovation in the world of film.

But The Mockingbird is more than just a cinema; it’s a hub of creativity and expression. With its cozy bar area and vibrant events calendar, it’s a space where ideas are exchanged, friendships are formed, and memories are made.

The Mockingbird has continuously strived to be a dependable source for eclectic cinema programming. Cult film Fridays. Late-night Saturday scares. Sold-out weekends of Barbie

parties. In this ever-evolving, increasingly risk-averse landscape. They relish committing to taking chances on what they screen. Often being rewarded by the brilliant support of their loyal audiences, as they garner local/national radio + news coverage along the way for their efforts, to keep cinema accessible and exciting.

Through their work, The Mockingbird has been a fierce champion of British independent film and a real supporter of emerging talent. Showcased most evidently recently through the exciting monthly venture ‘Reel Brum’ and regularly facilitating meetups for the Birmingham Young Filmmakers Network. Translating to many a short film showcase celebrating these filmmakers currently honing their craft. Coupled with being proactive members of the local film community The Mockingbird fully backs festivals such as the annual Flatpack Festival, alongside community projects like Screen B14 which all help to raise their respective profiles and Birmingham’s standing as a credible city for film.

For those seeking an escape from the ordinary, The Mockingbird Cinema offers an invitation to embark on a cinematic journey like no other. So whether you’re a film

aficionado, a curious explorer, or simply someone looking for a night of entertainment, venture into Digbeth and let The Mockingbird Cinema enchant you with its magic.

Accessible and exciting, is a real mission of this great little cinema which is formed of two screens. The main auditorium, a 90-seat traditional room and the second a 30 seat, intimate space, both offering delightful surround sound. Until recently, the cinema was using what was quite possibly the oldest functioning digital projector which after some 20 year or more of service still delivered the delights of creativity to the screen in all its glory. This has recently been transitioned to a more economic, but more delightful laser projection

system. The Barco DP2K-7S projector is a great addition to the cinema. Bringing outstanding imagery to the screen along with a significant reduction in running costs means that The Mockingbird is a real leader in both experience and environmental consideration.

There are more exciting technological advances on the way for The Mockingbird which will surely help maintain its strength within the community, both near and wide.

I personally look forward to accompanying this venue through the coming years as it strives to enhance its offering to the community both in Birmingham and the wider community.

Amplifiers: Sounding out energy efficiency

Omnex HFA600 and the Last Crusade (well, perhaps)

Kris and Pete tell us more about the key installation era of one of Omnex’s previous best-selling amplifiers and why we should embrace change... all film puns intended!

FROM DUSK TILL DAWN

Designed in house by Omnex in the early nighties, the Omnex HFA600 Amplifier was installed in a huge number of cinemas right upto the change to digital cinema a decade later. These amps are still widespread, many after nearly 30 years of continuous daily use.

TOTAL RECALL

The Omnex HFA600 has not had its day and will likely run for years to come so why consider a change?

Amongst other reasons, energy efficiency is a key consideration….

HOT SHOTS!

The Omnex HFA600 is known as a Class AB amplifier. It is roughly 60% efficient, so for every 100W from the wall, 60W of sound power is delivered to the speakers. Unused power is turned into heat (hence the large footprint of the unit). In

this example, resulting in 40W wasted energy for each channel.

COOL RUNNINGS

Class D amps, which are the norm in most new installations now, use different technology so that it uses mostly only the power it needs for sound power and very little is transferred into heat. This means the units can be much smaller. Class D amplifiers deliver 90% efficiency.

AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY

The amount of power your amps use will depend on the size of your speakers, volume, the room itself and the content you are playing so it is hard to pinpoint an exact power-saving calculation but if you ask us to we will try!

FIELD OF DREAMS

A ballpark figure is a 30% energy saving over what

you are consuming right now and because of the reduced heat output there will be savings with HVAC too.

TRUE LIES

Cinema soundtracks have high peak power demands, but very low average power. The power is required to be there for only short bursts. When we design systems we need to make sure you are covered for those high peaks, so the amplifier we put in is very capable to deal with those effects but the amplifier is not worked hard at all with the rest of the cinema soundtrack. On the spec sheets, the power consumption listed is sometimes with the amp at 1/3 or 1/8 power, but your system will probably not reach that level most of time.

JUDGEMENT DAY

We took the theory into the real world, we carried out two tests, in different screens of similar size (around 10m throw and width) with different equipment. Test one was to see the current draw of different makes/ models when they had no signal from the sound processor. In test 2, to represent film playback, we made a custom DCP of constant pink noise, played out at reference level.

THE MATRIX

In small screens of 100m2, in an average day of 6

hours of playback and 4 hours of idling, we can average that a 7.1 system powered by Omnex HFA600s will consume around 4.5kW of electricity whereas the newer Class d amps consume around half of that.

ADDAMS FAMILY VALUES

In this example of a small 100m2 screen, we can estimate a yearly saving in electric of £300 with a switch to Class D. In larger rooms, speakers get larger and more power hungry and this saving will be more.

FACE/OFF

The last thing to consider if you still have Omnex HFA600 amps in your equipment rack is that your sound equipment design might have been put together with pre-digital film sound in mind. Think about the film titles in this article and how different these films sound up against modern detailed sound design in cinema.

The Omnex HFA600 was a great ‘one size fits all’ option in the pre-digital age. The modern approach and philosophy is matching the right amplifier with the right speaker is step one to creating great sound in cinema, giving your engineer the best tools to calibrate your room. With a Class D amp, we believe you can do this and save on your running costs. (continues...)

OF A FEW REASONS TO CONSIDER A CHANGE…

Space Jam

There are many variations of Class D amps Because they don't expel as much heat, some are small enough to rack in your projector pedestal, sometimes eliminating the need for a separate sound rack.

The Cable Guy

A switch to class d can create a great opportunity for your engineer to reorganise any ‘rats-nests’ of cabling that has developed over time

Days of Thunder/ Silence of the Lambs

Some customers have noticed a gradual introduction of hiss and hum in their older amplifiers This is referred to as ‘Noise Floor’ and is generally caused by aging components A switch to class D will eliminate these unwanted sounds

The Bodyguard

We recently had a call through to the support line from a customer who had a failed sound processor We replaced the sound processor only to find that when the original had failed, it failed with such a bang that it blew all but a few of the auditorium speakers Class D, and most modern Class AB for that matter will have speaker protection limiters to prevent this happening

The Usual Suspects

Modern amplifiers often have their own onboard loudspeaker processing DSP with crossover functions, EQ filters, limiting, alignment delay and will come preconfigured with presets to match your speaker setup often improving the sonic performance of your speakers

The Day After Tomorrow

Being green should really be up there with the top reasons to switch to class d. Saving a little bit of energy in our running costs will go some way in reducing your carbon footprint

Twister

HVAC running cost savings With less heat from the amplifiers, the less your HVAC will have to work and the less power it will use

supplier showcase

SPRING 24 spotlight on Omnex suppliers

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. 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

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.

Laser by Barco!

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

4 reasons to go Laser by Barco

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.*

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

• Improve image quality and reduce costs

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.

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

*Source: Erm Research Global Study for Barco

Feel the difference of precision

Laser by Barco 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. Visit www.barco.com/cinema to see how you can benefit from Laser by Barco.

Trinnov Ovation2

LIVE THE TRUE CINEMA EXPERIENCE

Featuring Trinnov’s Optimizer active acoustics technology, Trinnov and Omnex deliver next level cinema experience, with best-in-class sound reproduction.

Immerse yourself in a world of sound!

The next generation of TIME PHASE FREQUENCY

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.

SPACES WITH A UNIQUE IDENTIT Y

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

AT THE HEART OF OUR DNA

CINEMA

RBe, widest range, IMB-S4, energy efficiency

“It’s another impressive year for cinema and I’m happy to be here to deliver some good news on energy efficiency, cost reductions, and even more options for all cinemas.” Phil Lord, Christie cinema sales manager, writes, “More than ever, the industry needs options. With many theatres requiring unique solutions to accommodate their current applications, we’re here to ensure exhibitors have what they need to keep their audiences entertained. As the only cinema projection manufacturer building new Xenon projectors, best-inclass energy efficiency RGB pure laser projectors, and now even laser phosphor projectors, I am certain we can find the right fit for your auditorium.”

NOW MORE THAN EVER When laser phosphor first came to market, it was perfect for other applications, but sorely lacked in terms of producing cinema quality visuals. However, we understood the industry’s interest in this technology as a lower entry cost laser solution for

boutique settings. So, we set to work on research and development. Now, we’re proud to bring you RB-laser phosphor projectors in 6,000, 9,000, and 11,000 lumens that keep entry costs low and visual quality high! We’d be delighted to discuss these new Phazer projectors for your next project.

A LONG LASTING AND RELIABLE IMB.

The new Christie® IMB-S4 was built with consistency and reliability in mind. With a shelf-life of 40 years, this new integrated media block lasts a lifetime for any CineLife+™ Series 4 cinema projectors projector. The low-cost, ultra-fast,

feature-rich platform converts and delivers packaged feature film content within a secure, DCIcompliant environment. The IMB-S4 enables outof-the-box HFR playback of up to 4K at 96fps and

SAVE MONEY AND THE PLANET WITH THE MOST ENERGY EFFICIENT PROJECTORS ON THE MARKET.

Energy costs have become a key performance indicator in recent years. In response, we developed more answers to keep costs low. Our Real|Laser projectors not only offer energy efficiency far beyond what’s possible from Xenon or laser

phosphor projectors, but also well ahead of our competitors. The CP4435-RGB leads the industry with best-in-class energy efficiency with up to 14.5 lumens per watt; meaning you get nearly twice the light per watt of energy! Learn more about how each of our projectors stack up against the competition in our “green paper.”

Elevating Comfort at Kavanagh Cinema

In the charming coastal town of Herne Bay, cinema enthusiasts have long cherished the Kavanagh Cinema as a local treasure. Renowned for its commitment to providing an exceptional movie-watching experience, Kavanagh Cinema recently underwent a significant upgrade, embracing the luxurious touch of new leatherette seats. Here we share an insight from the support we gave to Robert Johnson.

Dear Friends and Fellow Cinema Lovers,

As I sit down to pen this piece, I find myself reflecting on the incredible journey Kavanagh Cinema and I have embarked on since its doors first opened. It’s a journey that has been supported by our partnership with Omnex since the off-set – who, since 1986, have been by our side, ensuring that we remain on screen.

While Omnex have been our go-to for cinema technology for decades, stepping into the realm of cinema seating with them was a new adventure for me. It was a decision spurred by my

confidence in the support they’ve provided over the years and I felt their best-value approach was a path worth exploring for Kavanagh Cinema.

To give you an overview, the guys came to simply measure the auditorium it was all about getting the lay of the land – measuring up and talking through everything from the nitty-gritty of design features to just how many seats we could fit in. They brought back a slew of options that hit the mark, both on quality and on value, all laid out in neat CAD drawings.

The transformation has been nothing short of remarkable. The new

The response from our customers to the new leather seats has been overwhelming

leatherette seats look great and really help me show our customers our commitment to providing comfort and luxury. This upgrade was not just about aesthetics or adding a feature; it was about enhancing the very essence of what it means to enjoy a movie.

The response from our patrons has been overwhelmingly positive, and there’s nothing better than being told by the customers that you’ve done something right! Their appreciation has been vocal and heart-warming. It’s the kind of feedback that makes these investments feel worth it, and it’s why I am now looking forward to bringing this same level of seating to our other screen.

For my fellow cinema owners and managers reading this, my journey with Omnex, especially our latest venture into seating solutions, is a testament to the value of choosing partners who understand our industry’s unique demands. It’s about more than just products or services; it’s

about a partnership that grows and adapts to meet our ever-evolving needs; both mine and our customers.

The success we’ve seen at Kavanagh Cinema is a clear indicator of the potential to elevate your own venue’s comfort and style. I encourage you to consider what this partnership could bring to your establishment. It’s a conversation worth having, one that could continue to improve the experience for your patrons, as it has for ours.

In closing, I extend my sincerest gratitude to Omnex for their unwavering support and to you, our patrons, for your continued patronage and enthusiasm. Together, we’re not just watching movies; we’re creating experiences that linger long after the credits roll.

Warmest regards,

Robert Johnson Owner

Kavanagh Cinema

Enhancing the MediCinema Experience with State-of-theArt Technology Upgrades

At Omnex, we are thrilled to share the strides we’ve made in our ongoing partnership with MediCinema, a collaboration that underscores our commitment to enhancing the cinematic experience for patients across the UK. Our recent endeavors have focused on providing comprehensive technical support and advanced upgrades to MediCinema’s unique venues, ensuring that patients can continue to enjoy the magic of movies in the most accessible and innovative ways possible.

LANsat System Integration: A Leap Towards Digital Efficiency

In a significant advancement, we have introduced the LANsat electronic delivery system across MediCinema venues. This cutting-edge technology streamlines the management of cinematic content, eliminating the need for physical hard drives. This not only simplifies the process of content ingestion but also significantly reduces the logistical burden on venue staff. The installation of new network connections posed a considerable challenge, yet the integration of 5G technology has been a game-changer, particularly for two of the venues. This achievement marks a pivotal step in our efforts to enhance operational efficiency and support MediCinema’s mission.

Dolby Accessibility System (DAS): Ensuring Inclusive Cinematic Experiences

In our quest to make cinema accessible to everyone, we are in the process of implementing the Dolby Accessibility System (DAS) across all MediCinema venues. This initiative is designed to cater to the needs of patients with hearing and visual impairments, offering features such as audio description, amplified audio, and closed caption subtitles. By incorporating DAS, Medicinema are significantly expanding the range of facilities available to patients, ensuring that everyone can enjoy the transformative power of cinema.

MediCinema’s Current Venues:

A Network of Hope and Healing

Did you know MediCinema currently operates in five venues across the country:

Royal Victoria Infirmary, Newcastle

Yorkhill – Southern General Hospital, Glasgow

• Guys Hospital, London

• Chelsea and Westminster Hospital, London

Serennu Children’s Centre, Newport

Each venue is designed with the comfort and accessibility of patients in mind, featuring colourful seats, options for larger chairs, and space for beds. This thoughtful design allows all patients to immerse themselves in the healing experience of cinema.

A Partnership Rooted in Pride and Purpose

Our collaboration with MediCinema and our supplier partners is a source of immense pride for us at Omnex. Together, we are dedicated to providing the best possible solutions for ease of use and reliability, ensuring that MediCinema can continue its vital work of making patients ‘feel better with film.’ As we look to the future, we are excited to explore new ways to support MediCinema’s mission and further enhance the cinematic experience for patients nationwide.

Guy’s Hospital, London

Serennue Childrens Centre, Newport

Soutern General Hospital, Glasgow

Chelsea & Westminster Hospital

The alternative option: Laser Light Upgrade

In this article, I’m going to talk about LLU’s and try to keep it interesting! Whilst mainland Britain has very few LLU upgrades, countries like Ireland are thriving. I hope this will help you spark some thought for a cost-efficient upgrade path.

How do you talk about Laser Light Upgrades and keep it interesting…

Well, I’ll start with my story. Did you know I had a brummy accent until I was 11? Moving to Sussex to inherit my, now very-English, twang and an absolute passion for cinema.

Thinking the local cinema was the ‘coolest’ place to get a job at the age of 17, I joined Lee Allwood’s Orion Cinema Team, just as he took the reigns from previos operator: Robins Cinema.

To some extent the rest is history. Like many, I worked as an usher, moved on to ‘sweets’, before then getting a job ‘on box-office’. From front-ofhouse to daily cleaner, this wasn’t enough to deter me! Remember this was 1995, and if I’ve any vote in saying where did my industry mentorship start, it would appraisingly-point to Lee.

Of course, the natural step – back then, a keen What Hi-Fi reader – was to head up the dauting spiral staircase and learn all about the world of projection. I’d always been a fan of high-end audio, and to understand that cinema was running on a pygmy-lamp-powered, mono, Westrex sound system was less romantic than I had imagined.

At 19, putting together a proposal to install a CP55 with Dolby-A to bring surround sound was a big deal – for me atleast! And it was with my then

integrator provider Omnex, that Martin Dean and Tony Everett-Spearing let me watch over their shoulder to see them bring a classic cinema auditorium to life…

And here we are, some 27 years later, upgrading the audio to 7.1 - reworking the sound racks, installing CP950’s, and pairing the 7.1 system with Class D model amplifiers moving away from the original Class AB (you can read more about the differences on Page 20); a cost-effective way to sharpen audio with more efficient technology. And so the Laser Light Upgrade story can start.

Like others it was the DFP that helped bring digital cinema to Burgess Hill: Two Barco DP2K-12C projectors. With both due to reach their 10th anniversary in September last year, it was all about evaluating the cost of purchasing new, or swapping out the xenon-source with laser modules. Purely a maths decision based on science calcs proved that LLU’s offered best-value to the Orion. A simple ‘day job’ to breathe brand-new life into the projectors, and a 3-year warranty to boot! Combine that with a vastly improved image, and a very positive reduction in running costs (70% lower energy bills and no more xenon purchases), Orion patrons should be very proud of its technology offering.

Assessment: The first step involves evaluating the current xenon-based projector setup to determine compatibility with the LLU kit. This assessment ensures that the projector model is suitable for the upgrade.

Installation: We’re all certified! So to us it’s the simple replacement of the existing xenon lamp and lamp house with a new laser light source module. This process involves careful integration of the laser module into the projector’s optical system, ensuring it aligns perfectly for optimal image quality.

Calibration: After installing the laser module, the projector is calibrated to adjust the light output and colour balance. This ensures that the projection quality meets the high standards expected from laser projection.

Talking you through the upgrade process ...and the key benefits

Software Update: The projector’s firmware is updated to support the new laser light source, enabling advanced features and ensuring smooth operation.

Enhanced Image Quality: LLU provides superior brightness and colour accuracy, offering a more vivid and immersive picture on screen. Laser light sources produce richer colours and deeper blacks compared to traditional xenon lamps.

Energy Efficiency: Laser projectors consume less energy, contributing to lower operating costs and a reduced environmental footprint. The energy savings are significant, making LLU an eco-friendly choice!

Longevity and Reliability: Laser light sources have a much longer lifespan than xenon lamps, often exceeding 30,000 hours of operation. This reduces the need for frequent lamp replacements, lowering the amount of maintenance and downtime.

Consistent Brightness: Unlike xenon lamps that lose brightness over time, laser light sources maintain consistent luminance, ensuring the quality of projection remains high throughout their lifespan.

Warranty and Support: Upgrades typically come with a new warranty period, providing peace of mind and support. Barco offers warranty options that cover the laser light source module, ensuring that cinemas are protected against potential issues. The exact terms can vary, so it’s important to discuss the right options with us.

Transforming the community cinema

In a bid to enhance the cinematic experience for smaller communities where travel to larger cities can be difficult, Balfour Centre in Plean, located on the outskirts of Stirling, Scotland, recently underwent an installation providing ‘real’ cinema for the local community. A journey supported by the the Team at the Macrobert Arts Centre.

This article explores how Omnex played a pivotal role in the supply and installation of the complete projection, sound, screens, and seating technology. Did you know we did seats too!?

Bridging the gap - For residents of smaller communities like Plean, accessing high-quality cinematic experiences often involves challenging travels to larger cities. Recognising this gap, the team at the Balfour Centre embarked on an ambitious journey to bring the magic of the movies closer to home. The goal was clear: toprovideafull Digital Cinema Initiatives (DCI) experience that immersestheaudienceinunparalleledvisualand audioquality.

A Technological Renaissance

The transformation at the Balfour Centre Cinema has been a fantastic experience to witness. We outfitted the cinema with a new projection system, and the image looks stunning! What is it the marketing guys say(?): capable of delivering crisp, vibrant visuals that breathelifeintoeveryscene. Of course, its not all about the picture - for this particular room we chose to work with Trinnov, commissioning the room with an Ovation 2 processors and QSC

speakers and amplifiers, ensuringeverynoteand whisperresonateswithcrystalclarity!

We then fitted the Italian-made Screen International woven screen - an acoustically transparent screen ensures that sound quality is uncompromised.

Beyond the Screen

Understanding the desire for great quality seating comfort, we also povided - and installed - the cinema’s seating. Partnering with Ezcaray Seating in Spain, they introduced ergonomic seats designed to accommodate the unique architectural constraints of the venue. Even if we do say so ourselves, not only does the qulity of the seat enhance the auditorium, it is of course important that ‘every seat is the best seat in the house’

And there we have it, a one-stop-shop for cinema

technology. The beauty in a project such as this, was one of internal pride; to demonstrate that our services cover the broad range of auditorium technologies, but, indeed, to see the reaction from the community knowing that cinema is the greatest place to watch a movie!

QSC Discovery Centre: A Glimpse into the Future of Cinema Technology

Discover how the Omnex team’s recent visit to the QSC Discovery Centre in Egham opened up new avenues for technology excellence in cinema, showcasing the seamless integration and versatility of QSC’s audio solutions.

On a warm, albeit slightly grey day in February, three members of the Omnex team—Steve Case, Glen West, and Peter Knight—were invited to explore the QSC Discovery Centre in Egham. This facility is designed for both existing and potential customers to interact with and learn about QSC’s extensive product lineup.

QSC, headquartered in the United States, is renowned for its comprehensive range of audio solutions, including power amplifiers, loudspeakers, digital mixers, and digital signal processors, as well as the Q-Sys networked audio, video, and control platform. Many of Omnex’s cinema clients will be familiar with QSC’s amplifiers, a staple in the industry for their

reliability and performance.

At the heart of QSC’s offerings is an ecosystem where all products seamlessly integrate, primarily using CAT6 cables for signal transmission and Power over Ethernet (PoE) to power devices. This interconnectedness is managed through a QSC Core, the central hub of any QSC system.

During their visit, Ulf Qvicklund, Cinema and Sales Manager for EMEA, showcased a range of audio solutions. While many demonstrations focused on corporate AV applications, the versatility of QSC’s systems allows for easy adaptation to cinema environments.

One highlight was the boardroom setup, equipped with five location-sensitive cameras and an intelligent microphone system. This setup enhances meetings by automatically focusing on and amplifying the speaker, a feature that can be

effortlessly extended to cinema settings for conferences or Q&A sessions.

The team was particularly impressed by the Pat Quilter Auditorium, named after QSC’s founder. This space, designed for lectures and conferences, features advanced camera tracking technology. As a speaker approaches the lectern, the system dims the background music, brightens the stage lights, and follows the speaker with a camera. This ensures the speaker remains the focal point, enhancing the audience’s engagement and experience.

QSC’s ceiling-mounted speakers, which also utilize CAT6 PoE, offer a versatile solution for playing music and announcements in nonauditorium spaces like foyers and restrooms. These speakers can be centrally controlled and integrated with Point of Sale (POS) or Theatre

Management Systems (TMS) for tailored audience communications.

The visit also highlighted QSC’s range of portable speakers, which incorporate built-in amplifiers for easy setup in pop-up or outdoor cinema events. These speakers are available in various sizes to accommodate different spatial needs, streamlining the audio setup process for event organizers.

The Omnex team left the QSC Discovery Centre inspired by the potential applications of QSC technology in a variety of settings. For those interested in exploring how QSC solutions can enhance their installations, please reach out to steve@omnex.co.uk for more information and to arrange a demonstration at the QSC team in Egham.

Five minutes with our Newest Recruit

Based in London, our newest addition to the Omnex team, Peter Knight, has navigated the cinema industry’s evolution since 1997, bringing a treasure trove of experience and insights. From the flicker of 35mm projectors at Flix –Loughborough Student Cinema to the forefront of digital cinema technology and as the Commissioning Editor of Cinema Technology Magazine, Peter’s journey is marked by a profound passion for cinema and an enduring commitment to enhancing the movie-going experience. Join us as Peter shares his rich history in the industry, his exciting role with Omnex, and his vision for the future of cinema

Never lose sight of the magic that happens when the lights dim and the screen comes alive

Q: Peter, welcome to Omnex! Can you tell us about your journey in the cinema industry?

A: My journey began back in 1997, when I joined Flix – Loughborough Student Cinema as a projectionist during my time aas a student there. Flix is a student-run community cinema that operates with professional equipment, showcasing a diverse range of films - from blockbusters to indie gems and international releases. It was there that my passion for cinema exhibition ignited.

As a young projectionist, I revelled in the magic of lacing the 35mm film projector, adjusting focus, and ensuring that moviegoers experienced seamless screenings. The flicker of the projector, the anticipation before the lights dimmed, and the collective gasp during pivotal scenes; it all fuelled my love for the art of cinema.

Along the way I also became friendly with the local cinema manager at what was then the Curzon Cinema, Loughborough and also joined a email

mailing list where I met virtually a large number of projectionists, many of whom I then have gone on to meet in person over the years and who helped me with my career progression over the years.

Q: You’ve been freelancing since 2000. What kind of projects have you worked on?

A: Although I moved to London to do my dream job of working for the BBC, something that I did for 15 years, I still wanted to be part of the cinema industry and especially screening films. Since 2000, I’ve freelanced extensively, gaining experience across various aspects of cinema technology. My journey took me beyond the confines of traditional theatres. I’ve been involved in celluloid and digital projection, nonstandard and outdoor screenings, and even certification and training for fellow projectionists. I’ve had so much fun with the different cinemas and events that I have worked on. One of my favourite associations is with the BFBS/SSVC Movie Machine which is an articulated

lorry that converts into an indoor 80-seat fully functional cinema that we take to military sites across the UK to show the latest features to the troops and their families!

My experience even landed me a cameo role as a projectionist in an episode of Midsommer Murders (Series 15, Episode 4: Death of the Divas).

Q: Tell us about your role as the Commissioning Editor of Cinema Technology Magazine.

A: Since October 2016, I’ve had the privilege of serving as the Commissioning Editor for Cinema Technology Magazine. This role involves both commissioning and writing content for the publication. Alongside the magazine, I also oversee the online site and its content. It’s been an exciting journey, connecting with industry experts, attending conferences, and sharing insights on the latest advancements in cinema technology.

As an editor, I’m like a curator— selecting articles that resonate with our readers, diving into topics like laser projection, immersive audio, and sustainable practices. I’ve interviewed pioneers in the field, explored the intersection of art and technology, and championed innovations that enhance the cinematic experience. Whether it’s decoding the intricacies of Dolby Atmos or unravelling the mysteries of high frame rates, I’m committed to staying informed and inspired.

And it is something that I’m excited to be able be involved with Omnex and this newsletter as well.

Q: What excites you most about joining Omnex as a cinema engineer?

A: Omnex has a fantastic reputation,

and I’m thrilled to be part of the team. As someone that has known most of the Omnex cinema team (Pete Naples was the Flix engineer), I look forward to leveraging my 25 years of experience to contribute to Omnex’s mission. Whether it’s optimising sound systems, enhancing projection quality, or ensuring seamless cinematic experiences, I’m ready to dive in and make a difference. I’m also excited to be able to visit all the many different and interesting cinemas that make up the Omnex customers, many of whom I’ve known for many years. Becoming a cinema engineer feels like the next logical step for me and I am thrilled at the opportunities that Omnex is already offering me and for the ability to really make a difference in our industry.

Q: Any advice for aspiring cinema professionals?

A: Absolutely! Stay curious and keep learning. The cinema industry evolves rapidly, and staying up-to-date is crucial. Network with fellow enthusiasts, attend industry events, and embrace new technologies. And most importantly, never lose sight of the magic that happens when the lights dim and the screen comes alive—it’s what keeps us all passionate about cinema.

Remember, every frame tells a story, and as cinema professionals, we’re the custodians of those stories. Whether you’re calibrating a projector, troubleshooting audio glitches, or designing immersive spaces, approach your work with dedication and reverence. And don’t forget to enjoy the movies—you’re part of the magic!

The flicker of the projector and the collective gasp during pivotal scenes fuelled my love for the art of cinema.

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

National Cinema Support

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:

Fully trained and qualified engineers

Remote intervention and support; 8am - 10pm, 7-days a week

Unlimited remote support

Annual projector service

• Annual audio calibration (including ATMOS calibration)

Software updates

SERVICE PLANS

SILVER GOLD PLATINUM

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.

Meet the Heart and Soul Behind Omnex

At Omnex, we’re more than a company; we’re a family of film tech enthusiasts, united by our passion for bringing top-tier sound and projection to screens across the UK and Ireland. It’s been a thrilling ride since our beginnings in 1986, and just like cinema itself, we’re all about the sequels and the next big hits in tech evolution.

From our efficient Aylesbury warehouse team, to the broadest geographical spread of engineers, we’ve blossomed to a crew of 17 dedicated members—each with a story, each with a love for cinema. Add to that the sterling backup from our MPS engineering pals and the wizardry of our seating technicians, we’re geared up to deliver support wherever you are, whenever you need us.

With thanks to our manufacturing partners and cinema clients, the co-stars of our show! The spotlight’s on the future, and we’re buzzing with excitement to roll out the next phase of the Omnex story with you.

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.

REBECCA RAU

Exhibitor Relations Manager

Having started her career in the Motion Picture Dept. at Kodak, Rebecca spent the last decade at DCM managing independent UK cinemas

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

“37-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.

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 Operations 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.

GLEN WEST

Cinema Services Technician, N. MIdlands

Glen brings his cinema expertise from his time spent at Odeon as he begins his foray as a Cinema Service Technician

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

Starting out in technical theatre. Today, as many cinemas become more multi-functional, Kris’ advice on live sound & lighting is invaluable.

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 Technical Services, York,

Starting cinema life in 1999 at City Screen, Darren trained hundreds of projectionists in the digital rollout nationwide.

PETER KNIGHT

Cinema Services Technician, South Wales,

With nearly 30-years of technical cinema experience, Peter has led training courses, premiers & outdoor cinema projects.

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.