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3D Film Projection
entertainworld F U T U R E R E L E A S E S
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BALANCING THE ACT! Traditionally, global cinema exhibition industry does well when the world is in crisis. Cinema provides an escapade to the common man; a two-hour welcome relief from the problems of the real world. However, this time with the world in the grip of the worst recession in living memory that has no respite in sight, cinema exhibition industry too has begun to feel the effects of a shockwave. This presents a unique opportunity.
company that will structure loans on terms suited to our industry. While banks are wary in the current scenario there is any number of financing companies looking for good and safe opportunities.
Just as there has been an industry alliance between studios, exhibitors and vendors on D-Cinema and digital 3-D, a similar sort of understanding is once again required In markets that are over-plexed and but this time to rationalise the global saturated here is an opportunity to resources of cinema exhibition. Cinema TW @ CineAsia Macau consolidate, cut-down and recoup. Markets circuits must globalise in a combination of that remain under-screened, as large tracts of Asia and Africa advanced and emerging countries like BigCinemas has done do, it may be time to economically shift assets from the overbetween India and USA. This will help balance exhibition screened regions, rather than go brash on new purchases. assets and assisting such circuits should be an ecosystem of Unfortunately there is no truly global circuit in the mould of equipment vendors, financiers etc. This will also help in the hotel circuits that can effectively perform this task. Operating noble cause of global conservation, so finally, recession may cinemas across the globe can be a pretty challenging task so it be a good thing! sounds too good to be true. But it can be done with the help of others in the ecosystem. Enter equipment manufacturers and distributors with a preowned market model the way automobile manufacturers have done with used cars. To this should be added a financing
Sandeep Mittal Editor / Publisher
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CINEMASCOPE It’s been ten years now since TW (TheatreWorld), began showcasing the Show Business in its own inimitable style. Evidently, it’s been a kaleidoscope of the global motion picture exhibition industry, as well as an effective interactive platform between the industry and the wide spectrum of professionals associated with it: architects, acousticians, interior designers, technocrats of sound and projection, ticketing, concessions consultants, and, of course, the cinema builders! Due to the kind of content it has been churning out issue after issue, there had been a persistent demand from discerning readers that the magazine should have a letters column through which they could express their views and share information. Admittedly, we did not realise that our effort would be valued so high, which was why we did not contemplate having a letters column so far. It’s been a fulfilling factor too for us. On completion of a decade of striving existence, we are pleased to commence a Cinemascope column under which our discerning readers can share their views. We invite all our readers to send their opinions as well as suggestions relating to the industry and our effort in making it better. It may kindly be noted that for convenience of lucidity, the letters may be edited suitably, and Cinemascope retains the right to accept or reject any letter depending on the merit of the subject discussed. So, please do send in your views to Cinemascope. Mail your feedback to firstname.lastname@example.org
Theatre World is a quarterly publication, on the motion picture exhibition industry, for private circulation. It reaches out to subscribers, mainly theatre owners and trade professionals in India, also subscribers in select Asian cities. Additional copies are being promoted at major international industry events. Theatre World seeks the healthy promotion of the theatre industry through dissemination of useful information. Some of the information is compiled from industry sources, trade journals, company brochures for the benefit of readers, especially, theatre owners. Theatre World acknowledges with thanks the authors and publishers of these printed materials. Views expressed in the articles are those of the authors and not necessarily of Theatre World. Theatre World is a trademark under registration. The contents of Theatre World are under copyright registration. All rights reserved. Reproduction by any means in whole or part without written permission is prohibited. Unsolicited printed material is welcome but no responsibility is undertaken for the same and will not be returned. Theatre World does not take responsibility for the absolute accuracy of information published.
Doremi Crosses 1200 Installs in Europe Doremi Cinema’s European operations (Doremi Technologies) located in the South of France, has surpassed the 1200 unit mark for digital cinema server installations across Europe. This achievement comes in following the recent deal struck between Doremi and VUE Cinemas in the UK. VUE has expanded its digital cinema deployment to 50 screens; all to be equipped with Doremi DCP-2000 cinema servers. Now, the largest exhibitors in both the UK and France have selected Doremi’s cinema server technology to power their digital cinema deployments. These include VUE, Odeon and CineWorld in the UK, Megarama, CGR and Europalace in France, Yelmo in Spain and ABC in The Netherlands. Doremi Cinema also has its servers installed cinemas that span across Portugal, Russia, Italy, Poland, and Scandinavia. “We are extremely pleased with the ongoing popularity of our cinema technology with European exhibitors,” comments Patrick Zuchetta, Doremi Cinema’s VP abroad. “Our relationships and technology made their decision to go with Doremi an easy one”. Via a network of highly qualified dealers and integrator partners like Arts Alliance, XDC, DCL, UKFC and YMAGIS, Doremi Cinema has become the leading provider of digital cinema servers and mastering stations throughout Europe. Its line of DCP servers is the lynchpin product behind Doremi Cinema’s expanding client base. At this time, Doremi Cinema has over 6000 digital cinema servers installed around the world. This includes significant installations in China, India, Australia, Mexico, Latin America, Canada and the United States.
Doremi to Power Odeon/UCI Digitisation: Doremi Cinema has been selected by Odeon/UCI, Europe’s largest cinema operator, to supply the next phase of its Digital Cinema expansion with DCP-2000 servers enabling 3D playback. In response of the significant number of 3D releases slated for 2009, Odeon/UCI latest expansion will triple its coverage of 3D digital screens. Doremi will equip 70 new Odeon/UCI screens throughout the UK, Spain, Portugal, Germany and Austria bringing the total number of DCI compliant screens to 111. ”We are very excited about Odeon/UCI’s accelerated digital cinema deployment” comments Michael Archer, VP of Doremi Digital Cinema. Cineworld’s Expansion: Doremi will also digitally equip Cineworld Group plc, one of the UK’s leading cinema groups, to supply equipment for the expansion of its Digital Cinema rollout which will double the number of digital screens in its estate, the majority of which will be 3D enabled. Doremi is supplying its DCP-2000 digital cinema servers that include 3D playback. These will support the RealD 3D viewing technology to be used in Cineworld cinemas. Doremi recently announced that the Real D 3D’s EQ ghost busting technology – that significantly enhances the 3D viewing experience – will be available in Doremi servers early this year. Steve Wiener, CEO of Cineworld Group plc commented, “we chose Doremi servers based on our good experience with their equipment in our initial digital roll-out. They continue to develop their products and offer the new technologies we need – 3D being a vital part.”
Barco Powers China’s NDCPC Barco, a world leader in visualization and display solutions, teamed up with the China Film Group and the National Digital Cinema Production Center in enhancing its digital cinema operations. Barco has been the CFG’s partner since 2002, and now also has provided digital cinema equipment for the latter’s new post-production center. As China’s most advanced digital cinema production center, the National Digital Cinema Production Center serves as the heart of film and television pre and post production on the mainland. Operating in conjunction with the CFG, the center handles nearly 99 per cent of all digital film mastering in China. TW-8
The National Digital Film Production Center is key to the mainland’s cultural development project as part of China’s eleventh Five-Year Cultural Development Guidelines. Located in Beijing’s Yangsong, Huairou district, the CFGC occupies 140,000 square meters of total building area that includes 16 working studios, the Film & TV Product Communication Center, Administrative Center, Technical R&D Center and supporting utilities. The facility has a storage capacity of 80 film-based movies, 100 digital movies, 200 telecines and 500 teleplays and animation. Created at a total investment of over RMB 2 billion, the center is not only
China’s number one, but the world’s largest, most centralized film and television production complex. Barco has brought a number of digital solutions to the National Digital Cinema Production Center workspace. The studios all incorporate various Barco digital cinema products including a DP-1500 projector in the audio mixing studio, a DP90P projector in the colour correction studio, and DP2000 projectors in CFGC’s key projection rooms. In the latter, final editions of movies are screened in exclusive projection rooms for CFGC and government representatives before the movies are released to the public. ”We are currently using the world’s most sophisticated digital cinema equipment,” says Chen Fei, Chief Engineer,
CFGC Film & TV Center. “This in turn has allowed us to rapidly close the gap in sophisticated post production between China and leading film industries, and improve the quality of Chinese film production.” ”The outstanding films coming out of China these days are winning a wealth of acclaim both at home and abroad,” says Frank Christiaens, Barco President, Greater China. “This just wouldn’t be possible without the tremendous effort put in by the China Film Group and its National Digital Cinema Production Center. The commitment is not just in creativity, but also in providing the state of the art tools that bring creativity to life. This is something we at Barco are surely proud to be part of.”
Strong to Digitise 100 Screens in China Strong Westrex Company, a division of Ballantyne of Omaha, Inc., will provide and install 100 NEC STARUS NC1600 digital cinema projectors for China Film Group Corp. With initial shipments beginning in Q1 2009, the bulk of the order is supposed to be delivered in the second quarter of the year. The installs would spread across the Mainland China, and to the screens operated by the CFG. ”We are pleased to extend our longstanding relationship with China Film Group into the digital realm with this initial digital projection equipment and installation contract,” said John P. Wilmers, President and Chief Executive Officer of Ballantyne. “We are also excited that China Film Group recognizes the high quality and performance of the NEC Starus digital projector systems, as well as the value Strong Westrex brings in managing
the sales, installation and logistics processes,” he said and added, “we look forward to working closely with China Film Group and their partners in the coming years to support them in the adoption of digital cinema as well as 3-D cinema projection technology.” Ballantyne executed an agreement with NEC Display Solutions Japan in Q3 2008, granting Strong Westrex distribution rights to NEC’s Starus line of digital cinema projectors for the Peoples Republic of China (PRC). In conjunction with the PRC distribution agreement, Strong Westrex opened a sales and service office in Beijing. The PRC represents a very attractive, rapidly growing cinema market both in terms of screens and ticket sales. The country currently has approximately 6,000 cinema screens and that base is anticipated to grow in the coming years.
Qube to Power Odeon, UCI Cinemas Qube XP-D digital cinema server has been chosen by Odeon and UCI Cinemas – Europe’s largest cinema operators – to be a part of their current 111-screen digitization plan across Europe. One of the biggest initiatives in recent times, the move is in response to the significant number of digital 3D productions scheduled for release from 2009. This also goes further to reassure that the audiences across Europe can enjoy the latest movies in state-of-the-art cinema technology. The Qube XP-D digital cinema servers are designed to be DCI-compliant and equipped to work with all 3D technologies available today, making them an ideal choice for any digitization plans across the globe. Drew Kaza, Executive Vice-President of Digital Development for Odeon and UCI Cinemas said “Odeon and UCI Cinemas is
committed to providing the ultimate cinema experience for film fanatics. 2009 promises to be a hugely exciting year for 3D film, the installation of the latest technology across our cinemas will ensure that audiences Europe-wide can enjoy tomorrow’s blockbusters in the highest quality possible.” ”We are really excited that Odeon and UCI Cinemas have chosen the Qube XP-D as a part of this install, and we look forward to furthering our partnership with them over time,” said Nigel Dennis, Head of European Business Development at Qube Cinema. “We continue to innovate when it comes to the opportunities that digital cinema presents to enhance the experience for the movie going public,” he said, and added “we are determined to ensure that digital cinema and 3D prove themselves to be hugely exciting steps for the Industry.”
AAM to Power Dutch Cinemas’ Digitisation Arts Alliance Media (AAM), Europe’s leading digital cinema provider announced that it reached an exclusive agreement with the Amsterdam Booking Company B.V. (ABC), a buying group representing Dutch independent cinemas, to supply and integrate digital cinema in 68 screens from about 20 cinemas across The Netherlands. The deal also covers the installation of a professional satellite network for the transmission of live events and encrypted content. The initiative took off the ground with Bolt screening at cinemas in as many as seven dutch cities Heerenveen, Heerlen, Schagen, Spijkenisse, Venray, Weert and Zutphen. It now promises to bring all the 3D digital movies that Hollywood churns out through 2009 and beyond, with blockbuster releases such as Monsters vs. Aliens, Up, Ice Age 3, Planet 51, Toy Story 3D and Avatar slated as big draws. Under the conditions of the agreement, AAM will create a fully integrated DCI-compliant digital cinema and satellite network within the ABC group of cinemas. The agreement requires AAM to procure, service and maintain all digital cinema systems deployed, including projectors and servers, central storage servers and a Theatre Management System. ABC and AAM have jointly selected Christie projectors and Doremi servers for the deployment. FTT Filmtronics will carry out the installations and provide maintenance and local support. The satellite equipment will be provided by Arqiva Satellite and Media. See below for full list of cinemas in the ABC digital cinema rollout. Paul Visser, ABC’s owner said, “we see clearly what the future of cinema is going to be - digital, 3-D and live events. AAM is the best partner to make that happen and enable us to be the first widespread movers in the Netherlands.” Howard Kiedaisch, Chief Executive Officer, AAM said, “we are honoured to have been chosen by ABC for this highly significant deployment. Our commitment is to help all cinemas convert to digital, regardless of size or location and having ABC on board proves that our program works for independents as well as big chains.” Amsterdam Booking Company programs cinemas
throughout the Netherlands and has a market share of 10 per cent in the Dutch market. ABC also advises the connected cinemas on marketing, management and future development. The cinemas share information with each other which leads to synergy. ABC has extensive knowledge of the distribution side of the business, which enables the company to achieve the goals of both exhibition and distribution. To date, AAM has a European footprint of 420 installed and operated digital cinema screens in the UK, France, Spain and Norway. The company is currently completing the 400-screen rollout in France’s Circuit George Raymond (CGR Cinémas). AAM was the first digital cinema provider in Europe to sign VPF-based deployment agreements with studios and exhibitors. Funding for Expansion: AAM announced that it has signed agreements for 43 million Euros of funding from pan-European services company Econocom Financial Services and various private investors, together with a long-term strategic partnership agreement with Arqiva Satellite & Media for the satellite-based distribution of movies and alternative content live events into European cinemas. Econocom will fund to the tune of 20 million Euros for the purchase of equipment to complete the Circuit George Raymond’s (CGR Cinémas) digital cinema deployment in France. CGR Cinémas, based out of La Rochelle, have already installed 126 digital screens to date via its virtual print fee-based rollout agreement with AAM and is aiming to complete the digital conversion of the circuit’s 400 screens by Spring 2009. The deployment will complete in time to play next year’s highly anticipated 3D movie releases. Currently, there are thirteen 3D movies scheduled for theatrical release in 2009. The additional 23 million Euros (of the total 43 million) has been raised from private investors and will fund the continued growth of AAM, with particular focus on building up the group’s infrastructure and support network for its European digital cinema deployment business, as well as developing new and emerging revenue streams. The new investors will have a minority shareholding in the AAM group. Howard Kiedaisch, AAM’s Chief Executive Officer said, “we are delighted to announce this fantastic news, especially in today’s challenging economic climate. The significant investments and new partnerships with Econocom and Arqiva are a tremendous boost, and strengthen us to forge ahead with building the largest digital cinema delivery network in Europe, to which we can deliver digital content – films, alternative programming and live events.” Christian Levie, Chief Funding Officer, Econocom, said, “Digital cinema is transforming the moviegoing
needs and VPF model as well as for its ability to find an appropriate financial structure in those turbulent markets.” Barrie Woolston, Commercial Director at Arqiva Satellite & Media, added, “we’re thrilled to partner with Arts Alliance Media and move into the cinema business, which is going through a huge digital transformation. Satellite transmission of movies to cinemas is the future of distribution and exhibition, and our extensive international satellite infrastructure together with AAM’s proven digital cinema expertise is a strong proposition for European cinema exhibition and distribution.”
experience and taking film exhibition and distribution into a new and exciting future. We are proud to be a part of this revolution and to be joining forces with Arts Alliance Media, a proven leader in this business. The digitisation of CGR’s screens in France is the first step for us and we look forward to a long and successful partnership with AAM throughout Europe.” Jocelyn Bouyssy, General Manager of CGR Cinémas, added, “We are delighted to see that, in the current market, the VPF model is clearly validated and supported by financial partners. We hope that the completion of our digital roll-out in Spring 2009 will convince all French distributors to jump on board and seize the tremendous opportunities of digital cinema and 3D.” Chantal De Vrieze, Country Manager Belux, Econocom, said, “Econocom Financial Services was chosen for its flexible approach towards the digital cinema roll out
Patrick Foley, AAM’s Chief Financial Officer, concluded, “to be able to attract investors and partners of this calibre further verifies our digital cinema business and will open up great opportunities for AAM.” The Arqiva/AAM partnership agreement sets out an action plan for the development of a content delivery platform and network for movie distribution via secure satellite. According to the solution providers, extensive research, development and testing has already been completed. In October 2008, AAM and Arqiva successfully distributed the 2008 Palme d’Or winning movie, Entre Les Murs, to CGR Cinema’s megaplex site in Villenave d’Ornon, Bordeaux, France. The full digital cinema package, a 216 GB file, was transmitted via the Intelsat 905 satellite direct to the library server at the cinema, without any operator intervention. Arqiva and AAM have also been working together recently on the live HD transmissions of the opera and ballet performances from the Royal Opera House and other leading venues to cinemas across Europe.
Paramount’s Direct-to-Exhibitors Deal Paramount Pictures, a unit of Viacom Inc. announced it has become the first studio to offer digital cinema support directly to exhibitors across the United States and Canada. The move is expected to accelerate the roll-out of digital and 3-D projection systems in theatres. The announcement was made by Jim Tharp, President of Domestic Theatrical Distribution. The deal works in parallel with previously announced agreements with Digital Cinema Implementation Partners (DCIP), Cinedigm, Kodak, and Sony but allows exhibitors to seek financing for d-cinema systems locally rather than wait for comprehensive integrator agreements, which require significantly more upfront capital, to be completed. In addition, the agreement allows exhibitors to own and control their equipment (which is required to be DCI/SMPTE compliant), and to switch to an integratorsupported agreement at a later date if desired. The new agreement also includes independent theatres that do not belong to any integrator groups. Making the announcement, Tharp said, “we are excited about the potential of more theatres offering more of TW-14
Paramount’s films in the highest quality digital and 3-D. Today’s announcement is a good step forward to providing more audiences with the very best in movie viewing.” NATO President and CEO John Fithian said, “Paramount is getting out front on this critical industry transition and we applaud them. Direct arrangements between distributors and exhibitors won’t work for everyone, but for some of our members, it could make the difference in surviving and thriving in the digital era. And it certainly enables some exhibitors to get wired much faster — and that means more 3-D screens sooner. We urge all studios to give this creative option a fair chance.” To date, Paramount has signed nine digital cinema integration deals, the most of any major studio. They include domestic agreements with Cinedigm Phase 1 and Phase 2, Kodak, Sony, and DCIP, three deals with European integrators XDC, Arts Alliance Media and Ymagis, and two deals with Asian integrators DCK and GDC. So far, more than 3,500 screens have been converted to digital under Cinedigm’s Phase 1 plan.
Irish Multiplex Cinemas Goes Digital Irish Multiplex Cinemas (IMC) entered into an agreement with RealD wherein IMC will add RealD 3D capabilities to each of its multiplex locations for a total of fourteen RealD 3D-enabled screens. The rollout will begin immediately to be fully ready for the release of DreamWorks Animation 3D Monsters vs. Aliens. The install is expected to be completed by end April. ”The RealD 3D technology being installed in all IMC Cinemas shows IMC’s commitment to providing not only the
best in customer service, but also the best customer enjoyment of the cinema going experience by the early introduction of the newest technological advances available,” IMC director Paul Ward said. RealD Europe managing director Bob Mayson says Ireland is an important market for RealD in Europe. “We’re extremely pleased to be working with IMC to outfit all of their multiplex locations. Paul Ward and his team understand the potential.”
Vue Entertainment, RealD in Digital 3D Pact UK-based leading developer and operator of multiplex cinemas Vue Entertainment and and RealD have inked a partnership wherein the former will add 200 RealD 3D screens to its circuit. The rollout of RealD 3D-enabled screens has already begun with an installation at Vue’s flagship location in Leicester Square. Additional RealD systems are ready for installation immediately as new screens are added monthly at Vue cinemas. ”Vue prides itself on providing the most compelling cinema experience available and RealD 3D will give our audience a new and exciting way to experience movies,” Vue Entertainment CEO Tim Richards said on the occasion. “RealD 3D is the market-leading choice for its remarkable track record of providing a superior viewing experience, something we can’t wait to bring to our many locations across the UK.”
According to RealD Europe managing director and head of the European headquarters Bob Mayson, RealD’s next-generation 3D technology is deployed across the world’s largest 3D platform in 34 countries with over 1,700 screens running currently, and nearly 6,000 screens under contract. “With a packed slate of upcoming films being released in RealD 3D, we’re delighted to be working with Vue Entertainment to bring this global entertainment phenomenon to their circuit,” Mayson said. “We’re thrilled to be partnering with Vue to bring tens of millions of moviegoers the unmatched RealD 3D experience. This alliance with the UK’s leading exhibitor furthers RealD as the market-leader in the UK and is a reflection of our continued expansion across Europe,” said RealD chairman and CEO Michael V. Lewis.
Two European Cinemas Choose Quick Sensor Quick Sensor, an occupancy management system provider, has been chosen by two major cinemas in Europe- one each in Romania and Italy. Movieplex, the Bucharestheadquartered cinema exhibitor, who is also the largest in Romania, chose the occupancy detection system Open Today of Quick Sensor for its existing site in Bucharest. The 11-screen cinema is located in Plaza Romania, one of the largest shopping centres of Romania. With an aggregate capacity of 2476 seats, Movieplex is offering not only a large choice of films but also a new experience in 3D and digital projection for its customers. With Open Today, Movieplex cinema is again adding something new into the movie-going experience for its customers. This unique occupancy management solution is often known as an intelligent seating detection system. Created specifically for the cinema industry, it is not only
a great tool for rationalizing the high operation costs of cinema day-to-day life but also is participating in providing a more ‘open movie-going experience for the moviegoers! The Open Today occupancy detection system has also been chosen by a major cinema exhibitor in Italy for its magnificent cinema in the city of Parma. Part of a unique building designed by a well-known architect, this cinema is entertaining its customers with seven screens and a capacity of 1445 seats. Continuously being the Italian market leader in terms of service and comfort for its customer, this Italian exhibitor stays also vigilant for new technologies. In line with the same drive, the cinema chose Open Today from Quick Sensor. With sophisticated, user-friendly system in place, the cinema has not only been able to rationalize the high operation costs of day-to-day operations but also able to provide a better moviegoing experience for the moviegoers.
Dadi, First to Use Barco’s New Projector Barco, announced that Dadi Cinema Development Ltd. will be the first to deploy its newly launched DP-1200 digital cinema projector in China. The DP-1200 is Barco’s latest innovation in digital cinema, serving small screen environments. A subsidiary of Dadi Culture and Media Group – a corporate group of Media and Technology companies – the Dadi Digital Cinema Development Ltd. focuses on motion pictures releases, digital cinema construction and development of new media. In 2008, Dadi Cinema invested in more than 100 movie theatres, 300 screens and 100,000 seats throughout Guangdong, Zhejiang, Shandong, Jiangsu, Beijing, Shanghai and Anhui provinces. Barco has contracted with Dadi Digital Cinema to deploy both the exciting new Barco DP-1200 and its popular DP-2000 digital cinema projectors. The DP-1200 is the latest addition to Barco’s DP series. With the 0.98 inch DLP Cinema Chip from Texas Instruments, the DP-1200 is the perfect projector for small venues. With this projector, even the smallest cinemas now have access to digital cinema, at an affordable price. The DP-1200 is suitable for screens up to 12m and
maintains all the advantages of a Barco DP projector. The DP-2000 is a digital cinema platform for large and mid-market venues, and is suitable for a wide range of screens up to 20 meters. Barco, an industry leader in Digital Cinema solutions, particularly in the growing China market, has been providing Dadi Digital Cinema with its superior digital cinema projectors and 24-hour customer service since 2005. The partnership continues to grow, as Dadi is fully confident in Barco’s products and services, and looks forward to long-term cooperation between the two companies. ”We’ve been using Barco products for more than four years now,” says Liu Rong, General Manager of Dadi Media. “Our experience with Barco has been nothing but positive; we’re looking forward to a successful future working together.” ”As digital cinema continues to expand in Asia, and particularly here in China, our partnership with Dadi benefits all of us, especially the movie viewing public,” says Frank Christiaens, Barco President for Great China. “We’ve been working with Dadi since 2005. It goes without saying that they are one of the most important players in the digital cinema market, and we at Barco are truly pleased to partner with such a forward looking company.”
Fortis Bank to Fund Digital Roll-out in Europe Fortis Bank has committed to funding the first tranche of 50 million Euros for facilitating XDC’s roll-out of digital cinema equipment across Europe, pursuant to its mandate to arrange 100 million Euros financing. The credit facility will be available for draw down upon fulfilment of certain conditions, including satisfactory documentation. This financing will be, upon closing expected by mid April, the first major financing deal in the European digital cinema industry and will further enhance XDC’s position as a major player in the European market. Last year XDC executed Digital Cinema Deployment Agreements (DCDAs) with six Hollywood studios after TW-16
which the company started the first deployment with European exhibitors and the support of European distributors. The commitment by Fortis Bank to provide this will now enable XDC to complete the first phase of the Virtual Print Fee-based roll-out. With the total 100 million Euro funding, XDC will be able to finance more than 2,000 digital screens across different European countries. In parallel, within this scope, XDC raised in December 2008 an additional 6 million Euros funding of which 3 million Euro accrued from its existing shareholders while rest came from Société Régionale d’Investissement de Wallonie (SRIW).
Imax Bullish, Despite Continued Dents Imax Corporation reported a net loss per share of $0.21 for the quarter ended December 31, 2008, compared to a net loss per share of $0.25 for the fourth quarter of fiscal 2007. During the fourth quarter of 2008, the company incurred certain charges related to introduction of its digital projection system and the launch of new joint revenue sharing arrangement theatres. Excluding these items from the fourth quarters of 2008 and 2007, the company’s loss per share was $0.11 and a loss per share of $0.21, respectively. The charges in the fourth quarter of 2008 include: a $1.6 million asset impairment charge reflecting the write down of film-based projector inventories; $1.5 million in launch costs reflecting the opening of new joint revenue sharing arrangement theatres; and $1.3 million in accelerated depreciation on existing film-based joint revenue sharing arrangement theatres due to the earlier than anticipated digital upgrade of those theatres. Imax Co-Chairmen and Co-CEOs Richard L. Gelfond and Bradley J. Wechsler commented, “as we have said previously, in 2008 we laid the groundwork that is significantly transforming the company from one that was entirely film-based to one that is increasingly digital, and our business model from one of one-time sales to one of more significant recurring revenues. While our financial results reflect the costs associated with this transformation, our revenue did not yet reflect the benefits, as many customers elected to wait for our digital product. With the introduction of Imax’s digital technology now well underway, we continue to believe that the key drivers of our business - our digital technology, our growing base of joint revenue sharing theatres and our robust movie slate - should deliver strong revenue growth and return us to profitability in 2009.” The company achieved several important strategic milestones in fiscal 2008 that it believes positions it for
significant growth in 2009 and beyond: •
Successfully launched its Imax digital product, with 46 digital systems deployed in the second half of 2008.
Installed a total of 60 Imax projection systems, including two digital upgrades. The company ended 2008 with a total of 351 Imax systems in operation, a 17 per cent increase over 2007, and its commercial network grew to 231 theatres, up 29 per cent over last year.
Secured $18.0 million in funding in May 2008 through a private placement of common stock to its largest shareholder at market prices of $6.60 per share and re-negotiated its $30.0 million credit facility such that it is no longer subject to any EBITDA maintenance covenants provided the company is in compliance with certain minimum liquidity requirements.
Broadened its studio relationships, including signing a multi-picture deal with Walt Disney Pictures.
Signed deals for 90 new systems: 42 under joint revenue sharing arrangements and 48 under sales/ sales type lease/operating lease arrangements.
“We believe that the combination of these very significant initiatives creates a more compelling business proposition for ourselves and for our constituencies,” Gelfond and Wechsler continued, “given the rate at which we are capable of installing new systems, the proven reliability of the systems to date, the positive feedback we are getting from our studio and exhibitor partners, and, perhaps most importantly, the response from the consumer, we feel very pleased and confident about our digital roll-out thus far.” For the three months ended 31, December 2008, total revenues were $28.1 million, as compared to $32.3 million reported for the prior year period.
QuVis Downs Shutters QuVIS, a Topeka technology company that tried to woo Hollywood into using its digital cinema technology, has closed its doors, the company announced recently.
In the early 2000s, QuVIS, marketed itself to Hollywood and was able to digitize several movies, such as Toy Story II, Bounce, Shrek and The Perfect Storm.
QuVIS laid off 29 employees Dec. 1, said Kenbe Goertzen, QuVIS president and founder.
“A lot of eggs were put in the digital cinema basket, but that came to a screeching halt,” Goertzen said.
The company, which has 1,900 shareholders, many in Topeka, was struggling under $40 million in debt and insufficient revenue. It fought to meet payroll in the last three months. Goertzen said it is possible the company may enter bankruptcy. He said the assets of the company were “intellectual property, furniture, inventory, receivables, name, blue sky — anything could be considered an asset under a secured note.”
Goertzen founded QuVIS in 1994 in Topeka after working for another technology company called NewTek, which moved to San Antonio, Texas, from Topeka. He acknowledged timing wasn’t good to raise money because of the financial market meltdown. “Whether or not we can get out of here has yet to be seen,” he said. April-June 2009
World’s First 4K 3D Camera System Liquid Pictures, a pioneer in 3D stereo production and cinematography, announced what it claims to be the world’s first camera system utilizing RED digital cinema cameras capable of shooting 4K 3D footage on land, underwater, and macro 3D. The proprietary Liquid Pictures 4K 3D Digital Cinema Camera System is uniquely built with an unprecedented range of acquisition options, including the world’s first digital 3D underwater beam splitter housing. “We’re committed to producing mainstream 3D films and content that will entertain audiences with an immersive stereoscopic experience. Until now there was no all-inone 3D camera system capable of wet or dry in a beam splitter configuration,” said D.J. Roller, founder of Liquid Pictures. “Because we’re working on 3D features, commercials, and movies for 3D IMAX theatres, we needed a completely self contained system capable of shooting a spectacular vista, Hollywood action sequences, or a fingernail-sized creature at the bottom of the ocean.” After months of rigorous test shoots, the camera system is said to have proved itself last fall on a seven-week expedition to Micronesia during principal photography of a soon-to-be-announced 3D film co-produced by Liquid Pictures. Roller and his production team shot over a hundred hours of 4K 3D footage on location in jungles, aboard camera boats, and under water with the new camera system. Other industry firsts for the camera system include acquisition of 4K 3D macro footage, live real-time 3D monitoring and full wireless microwave control of camera functions—all underwater.
Roller’s design was executed by a specialized team of engineers tasked with creating a streamlined process for manufacturing multiple units on demand and “future proofing” the system for compatibility with upcoming RED cameras such as the EPIC and Scarlet. The Liquid Pictures 4K 3D Digital Cinema Camera System can also be adapted to use Sony F35, Phantom HD, and Phantom 65 cameras. ”This new camera system removes old boundaries, freeing us to take audiences on fantastic adventures and tell incredible stories in a whole new way,” added Roller. “3D makes the screen disappear and transports you to another world.” www.liquidpictures3D.com
New Gen 3D Glasses from XpanD XpanD, the international authority in 3D cinemas and technology platforms, announced the roll-out of its newest model of 3D glasses – the X101 Series – introducing them as the most sophisticated technology in the market today for viewing stereoscopic 3D digital cinema. XpanD’s new X101 Seriesof 3D active glasses represent several months of comprehensive R&D, engineering and design to equip them with state-of-the-art technical features and a streamlined, stylish appearance to optimize guest experience, comfort and to ease exhibitor operations. The core 3D viewing technology is the company’s patented pi-cell system, in which a specialized, fast-switching liquid crystal cell provides rapid, stereoscopic shutter action to deliver alternate right- and left-eye images. TW-18
New and upgraded features of the redesign were added with both exhibitors and their customers in mind. They include rugged construction with built-in flex points and replaceable batteries that extend product life, a lightweight and stylish form factor that is comfortable even when worn over eyeglasses, a modular design to accommodate both adults and children, environmentally friendly diodes, and a power-saving auto on/off mechanism. The light-efficient technology delivers the brightest possible picture and saves projector lamp power.
The glasses also feature long-range IR signal activation, compatibility with DLP cinema chips, and a choice of two elective anti-theft systems.
XpanD’s offerings mean that everybody wins: Theater patrons have a fulfilling experience and make repeat visits, and operators maximize their returns.”
”Now is a time of dramatic growth in 3D digital exhibition, and our company is fully committed to providing exhibitors with a complete line of top-quality 3D cinema products that are both robust and well priced,” says XpanD CEO Maria Costeira. “Technology never stands still and the new X101 Series active glasses are designed to be better, brighter, less costly and easier to maintain,” he says, adding, “our dedication and constant efforts to improve
The product line now also includes an optional, rolling trolley for storing, distributing and collecting the glasses before and after screenings. Each easy-load trolley holds about 250 sets of glasses. Additional products to support this new rollout of active glasses will be announced in the coming months as the company continues to develop a solid line of applications to make the 3D experience the best on the market.
Dolby’s New CP750 Digital Cinema Processor Dolby Laboratories announced that its latest generation cinema processor, the Dolby CP750 Digital Cinema Processor, will be available for orders during ShoWest starting March 30, 2009. Designed to work within the new digital cinema environment, CP750 integrates easily with preshow servers, alternative content, and digital cinema servers. The processor has an easy-to-use interface and powerful internal software that facilitates the setup process and can be easily programmed to manage audio settings and configurations. It can play back PCM digital, Dolby Digital, Dolby Pro Logic Dolby Pro Logic II, Dolby Digital Surround EX, and analog audio. In addition, the CP750 can be monitored and controlled remotely from anywhere on the theatre’s network. “Dolby is committed to simplifying digital cinema for our customers, making it easy for exhibitors to upgrade or build a complete digital cinema environment,” said Page Haun, senior director-cinema marketing at Dolby Laboratories. “The Dolby CP750 is the heart of a theatre’s audio system. It provides the features and functionality that exhibitors need for all content played in digital cinema while also providing the reliability and fidelity that they
expect from Dolby and the Dolby brand.” The CP750 accepts up to eight PCM channels from the digital cinema server. Three additional digital inputs accept PCM or up to 5.1-channel Dolby Digital from preshow and alternative content sources. An eight-channel analog input can accept audio from existing sound processors for hybrid film/d-cinema installations. In addition, the CP750 can process a narrative soundtrack for the hearing and/or visually impaired. By allowing the theatre’s integrator or network operation center to manage the system, the CP750 can be monitored, controlled, and upgraded from one centralized location. It also integrates easily with Dolby’s Theatre Management Software (TMS). Other capabilities include the ability for the CP750 to respond to digital input selection and volume cues within a show, to enable realtime volume control, and to recognize ASCII commands from third-party TMS controllers. In addition to being the ideal solution for new theatres, the CP750 is the ideal choice when existing theatres convert to digital cinema, as they will avoid the expenditure of an adapter and the cost to maintain their legacy cinema processor.
Doremi Cinema Launches CineAsset software Doremi Cinema introduced CineAsset Software for digital cinema and presentation applications. CineAsset is a media asset management software solution that converts common computer files such as QuickTime, AVI, JPEG and TIFF to JPEG2000, MFX wrapped files for playback on any digital cinema server including Doremi’s DCP-2000 and DCP-2K4. Ideal for smaller, regional theatre chains with digital cinema systems, CineAsset software allows statutory messages, custom slides and local commercials to be
quickly and easily produced in-house without any prior experience in digital cinema mastering. ”With CineAsset, the JPEG2000 conversion and MFX wrapping happens as a software solution and creates DCI compliant content that can be ingested and scheduled directly on the server,” said Doremi’s VP-marketing Michael Archer. “This takes full advantage of the high quality 2K digital cinema experience without the added expense and time of off-site mastering,” said Doremi Digital Cinema.”
Sony’s New 3D Digital System Sony Electronics is bringing to market its latest digital cinema technology innovation: a singleprojector 3D adaptor designed to work specifically with its 4K projectors in movie theatres. The new adaptor uses the full h e i g h t o f S o n y ’s 4 K i m a g i n g device, with the ability to display full 2K images for the left and right eye simultaneously and in parallel, from top and bottom. The new lens units, models LKRL-A002 (X1.1 -1.9) and LKRL-A003 (X1.9 - 3.3), consists of an optical and mechanical assembly for each left and right eye image. It is designed to meet DCI specifications for 3D digital projection, while overcoming the bandwidth and resolution limitations of currently available 3D systems. ”With the addition of the 3D adaptor to our digital cinema product line-up, Sony can now offer the best of all worlds to exhibition: stunning 4K imagery from 4K movies, and incredible 3D with no triple-flash artifacts,” said Gary Johns, vice-president of Sony Electronics’ Digital Cinema Systems Division.
When used with Sony’s integrated media block (LMT-200), the SRX-R220 4K projector is able to achieve 4:4:4 RGB signal path from media block, while avoiding the “tripleflash” artifacting of current 3D solutions. It can also deliver a 60P 3D display that is especially effective for sports or other fast-moving content in 3D. The system was developed to give exhibitors the flexibility to switch between showing 4K and 3D content. The 3D adaptor attaches onto the lens mount of the projector and is compatible with all Sony 4K projectors currently in the field. It can be easily removed or re-attached within minutes. The adaptor is designed to work with a maximum screen size of 55 feet (4.5 ftL brightness on 2.3 gain silver screen). Sony will be demonstrating the 3D adaptor in a technology suite) at ShowEast in Orlando. The 3D adaptor is expected to be available by the end of first quarter in 2009.
QSC Debuts Digital Cinema Processor Globla audio major QSC Audio will debut its first digital cinema processor at ShoWest 2009. A comprehensive digital cinema processor ideally suited for both D-Cinema upgrades and new installations, the new DCP 300 from QSC promises to combine the power of 24-bit, 16-channel D-Cinema processing with DSP crossover functions and remote, Ethernet-based monitoring and control features that are capable of giving guidance to entire audio systems. The rack-mount device can receive up to eight AES pairs of input from D-Cinema servers on two DB25 connectors. Network digital audio transport is facilitated as well, via CobraNet, to easily accommodate future expansion. Full compatibility with QSC’s DCA amplifiers allows the power of the DCP 300 to be added to applications converting to digital projection without the need for replacing existing amps. Housing advanced DSP crossover settings for the QSC family of DCS loudspeakers supporting up to five active two-way, three-way, or four-way screen channels, the device additionally offers full 1/3 octave graphic EQ on all channels (except subwoofer), a master volume and master mute, and an internal pink noise generator. 10 channels of analog inputs have also been thoughtfully provided for legacy 35 mm film processors. TW-20
Dual power supplies further complement the package, along with complete parameter backup via SD memory features inherently designed to keep you on-screen or get you back up quickly. User interface is simple and intuitive using a color LCD touchscreen found on the DCP 300’s front panel. A speaker also found on the front panel lets users keep tabs on either selected mixes of inputs or outputs, or any individual amplifier output channel. Line-level hearing and visually impaired outputs are furnished as standard equipment as well. Network support includes compatibility with QSC’s QSControl and QSCreator, plus instrumentation and status indicators. Placing virtually any imaginable D-Cinema processing function conveniently at the users’ fingertips, the DCP 300 has a suggested retail price of $8000. www.qscaudio.com
Philips’ New Digital Cinema Xenon Lamp Royal Philips Electronics announced that the Philips XDC3000S and Philips XDC-4200S xenon lamps are approved by Sony Corporation, B2B Solutions Business Group, as they meet all strict requirements for the digital cinema market. The lamps are authorized to be used in all Sony’s SRX digital cinema projectors worldwide. These advanced lamps meet the new requirements of the rapidly increasing number of 2D and 3D digital cinemas. Philips xenon lamps enable the digital cinema projectors to consistently achieve high brightness and reliable operation while sustaining long life. Sony’s endorsement of the lamps means digital cinema customers world over now have a wider choice of lamp options. The new XDC-3000S and XDC-4200S lamps will be available from select distributors of Philips worldwide sales organization. The complete Philips cinema xenon lamp range will be displayed at ShoWest 2009. Philips Patents Xenon Lamp Technology: Philips announced that the U.S. Patent Office has issued a patent to Philips for its innovative Helios xenon lamp technology. Designed as direct replacement for standard xenon lamps in film cinema applications, Helios lamps can provide up
to 30 per cent more light on the screen with no reflector or lens changes and no lamp house modifications. Helios lamps are available in a wide range of wattages and configurations to fit all leading film projectors. Helios lamps can be used in two ways to reduce an exhibitor’s total cost of ownership: •
Provide equivalent light on the screen using a lower wattage Helios lamp. For example, a Helios 4.2 kw lamp running at 4.2 kW can achieve the same light output on the screen as a 5 kW or 6 kW standard lamp running at full power. This provides lower energy costs and cooling requirements and allows the use of a lower cost lamp.
Provide more light on the screen at the same power consumption. For example, a standard 3 kW can be replaced with a Helios 3 kW lamp running at 3 kW and up to 30% more light will be available on screen. This provides an easy way to upgrade projection equipment without expensive modifications.
Helios lamps are already in wide use by major film exhibitors around the world. The complete Philips Cinema xenon lamp range will be displayed at ShoWest, Philips booth #1216-1218.
New Perlux 220 Screen from Harkness Harkness Screens, the world’s leading manufacturer of projection screens for cinema applications, is introducing new screen model from its popular Perlux Screen series. The new Perlux 220 is claimed to offer increased screen brightness for larger screens with active and passive 3D technologies (not using polarized light), such as Dolby 3D, and for large 2D screens. Perlux 220 is noted for its invisible seams under normal projection conditions. Perlux 220 is available in full screen perforated form where behind screen speakers are required. The Perlux 220 standard perf offers a minimum viewing distance of 15 feet from the front row to screen surface. For closer viewing, in screening rooms, mini-perf option is recommended. Non-perforated is also available. The screen can be ordered up to 79-feet 3-inches by 40feet 7-inches (24.1m x 12.4m) for the U.S. market or up to 87-feet by 36-feet (26.5m x 11m) for European orders. With the increased emphasis on sound demanded by today’s audiences, the screen perforation size of the Perlux 220 is .047-inches (1.2mm) with a perforation density of 4.5 percent to optimize optical and acoustic performance. Perlux 220 has obtained several fire retardancy certifications including those in the U.S., UK, Germany, Spain, Italy, Japan, Korea and Australia. It is considered by leading cinema exhibitors and special venue operators
worldwide to be the premier gain projection surface. Harkness Screens’ Perlux 220 meets the requirements for the highest possible gain while maintaining acceptable viewing angles. Harkness will showcase Perlux 220 at this year’s ShoWest at Booth 1814. “ShoWest is the perfect venue to showcase our newest 3D screen, the Perlux 220,” says Andrew Robinson, managing director of Harkness Screens. “We are committed to the trend in digital cinema and will continue to develop our products to optimize this application.” Malco Theaters' Largest Perlux 220 Screen: Malco Theaters currently has two of the largest 3D images available in US, both utilizing Harkness' Perlux 220 screens. The first is located in Paradiso Cinema in Memphis, TN with a 3D image sized at 61 feet; the other is located in the Grandview Cinema in Madison, MI, which is Malco's largest theater in the US. The 68-foot image, supported by Harkness' Perlux 220, is currently the largest 3D image in the world.
• SPECIAL FEATURE •
‘Alternative’ Entertainment! Digital Cinema is going places, and spaces, literally! For long, exponents of digital cinema have spoken about alternative content and benefits of the format’s ability to beam nonfeature film content to designated locations for targeted audiences. The promise appears to be unfolding gradually, and ‘show’ing off the technology entertainment to fascinate the audiences across (and, of course, above) the globe! TW, in its Special Feature this time, presents a perspective. Early this year, even as the industry captains and corporate honchos were dithering on their business plans that were hard hit by the unprecedented recession, the technology scapes of cinematic entertainment touched a new horizonas the enthusiasm of cinematic wonderment reached for the stars! A first-of-its-kind live ‘earth-to-space station chat’ with NASA astronauts. While Galaxy Theatres in Gig Harbor, Washington played host to this excitement, Christie Digital, the leading digital cinema solutions provider took the centrestage of the technology exploit. That’s not all! •
Roughly two weeks before, as many as 80 movie theatres from across 30 States in the U.S. were treated to 3D live thrills of the NBA match between the University of Florida and the University of Oklahoma. The first-ever nationwide theatrical broadcast of a live sports event in 3D, the FedEx Bowl Championship Series (BCS) National Championship game resulted in selling out 19 of the total network theatres. The experiment, if not the event in itself, grossed over four times higher than the best per screen movie gross for the same evening.
The excitement (of experiencing sporting entertainment in movie theatres) shot up so much in scale that, five weeks later, the screen count of ‘sporting’ cinemas doubled up.
Carmike Cinemas, Celebration Cinemas, Cinema West, Emagine, Galaxy Theatres, Marquee Cinemas, MJR, NCG, Rave Motion Pictures, Showcase and UltraStar Cinema spread over 35 States in the U.S. participated
in what was touted to be one of the year’s most watched sporting events. Within weeks of the announcement about the event, two more cinema chains – Mann Chinese Six and Krikorian Manrovia 12 – have joined the party. This wide debated, and often detracted opportunity was turned into reality by Cinedigm – the erstwhile AccessIT which changed its name to Cinedigm Digital Ciniema Corp. (Cinedigm) – in association with its technology partners for projection and server solutions and content providers. It tied up with Turner Sports and NBA to get the live feed to its Command Centre, and broadcast the content in live 2D and 3D using its proprietary CineLive technology to digitally equipped cinemas. On the other hand, Sony Electronics, the 4K digital projection technology developer, delivered the sporting
• SPECIAL FEATURE • Technologies, and produced by Aghal Films of Chennai, the 110-minute concert-movie Margazhi Ragam starred two of the noted Carnatic music exponents T M Krishna and Bombay Jayashri.
event in live 4K 3D to over 1,200 guests at the Consumer Electronics Show in Las Vegas. The games were shot using 3ality Digital’s image-capture technology and transmitted live in 3D via the same CineLive satellite-based distribution network from Dolphin Stadium in Miami to an audience of over 1,200 invitees in the Paris Hotel and Casino’s RealDequipped Theatre des Arts in Las Vegas during the annual Consumer Electronics Show. The Japanese projection major joined hands with Fox Sports, and used its SXRD 4K projection systems for the event. Giving an icing on the cake, Regal Entertainment Group, world’s largest cinema chain operator, demonstrated on 27 February this year what was considered the biggest and most emphatic show of ‘alternative content’ in digital cinemaswhen it released the the Walt Disney Pictures’ Jonas Brothers: The 3D Concert Experience in 3D digital at 163 cinemas across the U.S. utilizing the RealD cinema system. The movie released in both Disney 3D Digital and Imax 3D Digital in the U.S. and Canada, was also simultaneously screened in Puerto Ricomaking the Latin American country the latest geography to be dotted with digital footprint. On the other side of the globe, in the southern hemisphere, India, one of the most dynamically growing markets for digital cinema, broke a new ground in cinematic entertainment as it ‘stage’d digital shows of digitally shot Carnatic music concert. The landmark event unfolded in Sathyam Cinemas in the South Indian metropolis of Chennai, followed by Big Cinemas in Coimbatore and then by Fun Cinemas in Bengaluru. Conceptualised and directed by Jayendra Panchapakesan, Founder-Director of Chennai-based Real Image Media
“For over four years, I have been living with the idea of giving Carnatic music an evocative new appeal in terms of presentation. Finally, the technology became available to give this dream the right shape,” says Jayendra. “Margazhi Raagam brings together two things that are close to my heart– music and cinema!” says the exulting entrepreneur-turned explorer. “I am sure that classical music and cinema will see the benefit of this initiative, as will artistes and music lovers.” (Read separate story: New Horizons of Indian Cinema in TM) Having generated seemingly enough enthusiasm in Indian theatrical space through a three-week houseful run, the movie has also been subsequently taken to overseas market- to ‘wow’ admirers of Indian music. It was first premiered to an overawed audience at Greater Union Cinemas in Sydney CBD on 15 March. The Sydneybased multiplex cinema chain, which agreed to screen the movie, took it for two weeks at Castle Hill Greater Union cinema, followed by Campbell Town Greater Union, for an even period. The audience’s response? “Overwhelming,” says Nalini Sankar, the music lover-turned-movie distributor who – having taken by the deep impact of the movie – took up the cause of spreading the movie’s appeal to Australian Indians. “I’d heard a lot about the movie and really wanted to bring it to Australia and share it with other music lovers,” says Nalini. Having scheduled three shows at other theatres within Sydney over the next few weeks, she is planning screening in other major cities such as Melbourne, Brisbane, Adelaide and Perth. “We have already had two shows completely sell out,” exults Nalini. “I have even been approached by people wanting tickets to watch the movie a second and even third time,” she says, adding, “the response from people has been really great.” According to her, Margazhi Raagam is very different- from a conventional musical concert or the regular movie. “There isn’t any acting, but there is a performance. There isn’t a plot, but you are taken on a journey through the
• SPECIAL FEATURE •
T M Krishna and Bombay Jayashri perfoming ‘on screen,’ shown digitally
song sequence,” says Nalini. “There isn’t any dialogue, just a conversation between the artist and the audience (even if they aren’t face to face); and there aren’t any fight scene Dishoom sound effects, but the thani aavartanam provides plenty of action.” Having tasted success in Australia, Team Margazhi Raagam is planning to spread its cause to other overseas markets with substantial contingencies. Release in Middle East is slated for next month, followed by UK and US, and then South Africa. The Indian exploration is, in a way, a fruition of the phenomenon that actually began sometime in mid-2008 in Europe when the UK-based digital cinema solutions provider Arts Alliance Media (AAM), Opus Arte of the London Royal Opera House (ROH), and Canadian digital cinema player DigiScreen Corporation joined hands to bring ballets, operas and dance concerts from the Royal Opera House and other international performing arts companies to cinema screens across Europe. The coming together of these three players meant that movie houses in almost whole of Europe, including the Nordic
communities, could screen alternative content to bridge the gap digitally between two regular movie releases and keep their box offices ticking. (Read ‘New Revolution in Europe’: Theatre World, June 2008). Elsewhere in Asia, there had been efforts to hook up cinemas with entertainment formats churned out in digital mode. China and Japan, followed by Singapore have been inching towards arriving onto this digital horizon. The significant point coming out of these initiatives is evolution of alternative content production-distribution channel that’s been missing since the days of its advocacy. So, alternative content for cinemas, so to say, has arrived, and in 3D- education, sports, culture, and what else! So much so that over 4,500 cinemas from across the world had been churning out alternative content to their audiences. Cinedigm, the erstwhile AccessIT, which has recently developed its proprietary, satellite-based distribution network called CineLive, claims to have beamed thus far as many as ten million digital screenings, that included live events and 3D shows, to over 3,800 cinemas across the Americas.
10m Digital Shows…and Counting! Cinedigm Digital Cinema Corp. (Cinedigm), the global leader in digital cinema, announced that over ten million shows had played on Cinedigm digitally-equipped cinema screens in 40 States across United States. According to the company, almost 3,800 theatre screens now exhibit movies and other enhanced content on a daily basis via Cinedigm’s digital cinema systems. Cinedigm’s networked systems including the company’s Theatre Command Center, software and Library Management Server combine to enable centrally-controlled exhibition of movies and other events such as live concerts and sporting events and pre-feature advertising. The company is currently working to deploy over 10,000 additional digital cinema systems, which will significantly expand the impact for consumers across North America. “Digital cinema allows for faster, more cost effective delivery of movies and other choices of content to theatres
around the world,” says Bud Mayo, Cinedigm’s President and CEO. “Cinedigm’s technology transforms theatres by allowing them to bring new choices of content and experiences to their customers, such as 3D live events and customized programming,” Mayo says, adding, “as more theatres sign on to our digital deployment plans, more movie-goers can expect the unique and high-quality experience only associated with digital cinema.” Cinema circuits already equipped with Cinedigm digital cinema systems include Atlas Theatres, Allen Theatres, Carmike Cinemas, Celebration! Cinema, Cinema West, Cinetopia, Dickinson Theatres, Emagine, Galaxy Cinema, Krikorian Premiere Theatres, Marquee Cinemas, MJR Theatres, Neighborhood Cinema Group, Premiere Cinemas, Rave Motion Picture Theatres, Showplace Cinemas and UltraStar, apart from Cinedigm’s own Pavilion Digital Showcase Cinema.
• SPECIAL FEATURE • Rockumentary Feature Movie Jonas Brothers: The 3D Concert Experience is a high-energy Walt Disney Pictures rockumentary feature film event from director Bruce Hendricks of Hannah Montana fame and Miley Cyrus of Best of Both Worlds concert. The movie is a blend of excerpts from the Brothers’ red-hot Burning Up concert tour, including guest performances from Demi Lovato and Taylor Swift, with exclusive behindthe-scenes footage, off-the-wall segments, a never-before-heard song Love Is On Its Way. The movie also gave fans never“The movie-going experience of the future has arrived,” said George Krikorian, president and CEO of Krikorian Premiere Theatres. “We believe that the future moviegoing experiences will far exceed our greatest expectations. These 3-D presentations represent a pivotal transitional moment in film exhibition history,” he went on to add: “Live 3D broadcast of prominent sporting events will be far more compelling and appealing to the public than live attendance at those events.”
A Digital Journey to the Stars! 21 January proved to be a date with cinematic history, as Mike Fincke and Sandra Magnus – astronauts of Expedition 18, onboard the International Space Station – answered questions from nearly 2000 students, teachers, community leaders and government officials filling out to capacity the 10 screens of the Galaxy Uptown Theatre hooked to the downlink from the satellite. The educational downlink event, part of Key Peninsula Middle School’s NASA Explorer School project, opened, practically, a new ‘chapter’ in leveraging technology for edutainment. The downlink is an integral component of NASA’s Teaching from Space Education Office. The office promotes learning opportunities and builds partnerships with the education community using the unique environment of human space flight. It seeks to improve teaching and learning in science, technology, engineering and math. Bonnie Dunbar, CEO of the Museum of Flight in Seattle and former NASA astronaut, and General Shalikashvili, a former chairman of the Joint Chief of Staff, joined the students at Galaxy. Kareen Borders, the NASA Explorer School Team Lead and teacher at Key Peninsula Middle School, played a key role in bringing the event to fruition. She and other teachers also prepared their students by having them engaged in district-aligned hands-on investigations related to the history and mission of the space station and other NASA initiatives. She is looking forward to continued film industry and education partnerships. “In order to prepare our students for 21st century global competitiveness, we know that business partnerships are crucial. We are excited that Galaxy Theatres and Christie
before-seen insights into the lives of Kevin, Joe and Nick. The digital 3D presentation of this ‘G’rated movie, was presented to the audience using comfortable, lightweight glasses to view the movie’s 3D effects. ”This 3D movie is the perfect chance for fans to see the Jonas Brothers in concert, perhaps for the first time or to see them again on the big screen,” noted Dick Westerling, senior vice-president of Marketing and Advertising for Regal Entertainment Group. will continue to be leaders in bringing cutting-edge science, technology, engineering, and math (STEM) opportunities to our students,” said Borders. Frank Rimkus, CEO at Galaxy Theatres, was impressed with the turnout and the visible sense of excitement in the faces of the students. “We were thrilled to be one of the first movie houses in the country to work with NASA and host so many deserving students and educators in this stimulating and inspiring environment,” he said. “At Galaxy Theatres, we believe that addressing important social issues in a responsible and entrepreneurial way helps build strong bonds and goodwill in the communities we serve. We’re also grateful to so many people and companies who believed in this project and contributed their time, products and services to make it happen.” Rimkus noted that the installation of Christie digital cinema projectors was the technological cornerstone that made the event possible. “They transform our theatres into cutting-edge multi-media presentation facilities, providing us with advanced presentation and programming capabilities that the majority of the U.S. communities don’t have,” he said. According to him, digital cinema converts a theatre from a single-product business into an infinite product business, enabling a wide range of live events and entertainment options. Says the the excited cinema leader: “I can see in the not-too-distant future when movie houses will once again become a community center and be able to provide exceptional educational opportunities for students whose schools could not otherwise afford them in the classrooms. Not every student can attend Harvard or fly in outer space, but we can bring Harvard, the stars and beyond to every student through digital cinema.” Christie is obviously emphatic. “Christie is a strong believer in the use of technology to enhance and transform the educational, cultural, and social experiences of our communities,” said Craig Sholder, vice-president of Christie’s Entertainment Solutions. “We are proud to have been a part of this milestone partnership between NASA, Galaxy Theatres, and area schools, using digital cinema to educate and inspire young people and to strengthen community ties.” April-June 2009
Cinedigm, SPRC in Pact for 10,000 D-Cinemas Cinedigm Digital Cinema Corp (formerly AccessIT) announced an agreement with Sony Pictures Releasing Corporation (SPRC) supporting its Phase Two Digital Cinema Deployment Plan for up to 10,000 digital cinema projection systems. Over the next three years, SPRC will supply its upcoming pictures in a DCI-compliant format to Cinedigm installed theatres in the United States and Canada and will make financial contributions for a limited time to promote DCI-compliant digital cinema technology (a new and higher quality delivery format). The agreement extends the strong commitment to digital cinema between the parties and reinforces Sony Pictures’ desire to advance the industry’s transition to digital. During Cinedigm’s Phase One deployment, which commenced in the fall of 2005 and was completed in the fall of 2007, over 3,700 digital cinema systems were installed in the U.S. and Canada. ”Sony Pictures Releasing Corporation has been an important partner to Cinedigm. We’re happy to have their commitment to our Phase Two Deployment Plan as we know it will help to create a better experience for audiences at their local theatre,” commented Bud Mayo, chairman and chief executive officer of Cinedigm. “We look forward to adding other studios and exhibitors to our Phase Two plan as we broaden the digital cinema footprint in the U.S. and Canada.” ”Cinedigm has been an industry leader in digital cinema and we are proud to be their partner in enhancing the theatrical experience for consumers in North America,”
said Rory Bruer, President of Worldwide Distribution for Sony Pictures Worldwide Marketing and Distribution. Funding for Expansion: Cinedigm announced that its Phase 2 Entity signed on an $8.9 million credit facility aimed at furthering its mission of digitisation of movie screens. The facility will fund the launch of Cinedigm’s first 137 Phase 2 conversions of Premiere Cinemas’ theatres to the company’s digital cinema platform, as part of its 10,000screen digital cinema deployment plan. To date, Cinedigm has signed almost 500 screens to its Phase 2 plan and anticipates thousands more in the months ahead. Cinedigm’s Digital Cinema division has already installed more than 3,700 digital cinema systems in theaters across the United States during its two-year Phase 1 rollout, making it by far the market leader in making digital cinema a reality for millions of moviegoers. The Company’s Phase 2 plan will provide networked, turnkey, digital cinema systems in conformance with DCI specifications. ”We are extremely pleased but not surprised to have closed on this initial financing,” said Bud Mayo, Chairman and Chief Executive Officer of Cinedigm. “While the credit markets overall remain largely closed, Cinedigm is a proven business with a strong track record thanks to its Phase 1 plan and was able to secure credit to initiate our nextstage plans. Our goal is to continue to sign thousands of additional screens in the months ahead in anticipation of additional financing from a variety of sources.”
Marcus Theatres to Install 13 RealD Systems Marcus Theatres, a division of The Marcus Corporation plans to install 13 new RealD digital 3D systems at Marcus Theatres locations throughout the Midwest. The company plans to install the 13 additional digital 3D systems in time for 27 March opening of DreamWorks Animation’s first 3D release, Monsters vs. Aliens. With the addition of these 13 digital screens, Marcus Theatres will offer digital 3D at 27 of its locations in seven states. ”Digital 3D is a growing force in the industry,” Marcus Theatres president Bruce J. Olson said. “With up to 14 digital 3D films scheduled for release in both calendar 2009 and 2010, this powerful technology has promising revenue potential,” he said, and added, “we are very TW-26
encouraged by attendance trends and digital 3D’s success to date has had a positive impact on our box office.” According to him, the digital 3D experience is a much more dynamic form of movie entertainment. “Studios are dramatically improving the quality and making the experience even more interactive with outstanding graphics and lifelike images that engage the viewer. Audiences are delighted by the sensory experience of being enveloped into the motion picture,” added Olson. ”The performance of films shown in RealD 3D is a bright spot for the entertainment industry, as the box office for 3D films has performed up to six-times better than the
2D versions of the same film,” said RealD chairman and CEO Michael V. Lewis. “We look forward to our expanded relationship with Marcus Theatres as the company capitalizes on the added value of the RealD 3D experience.” Upcoming digital 3D titles include Ice Age 3: Dawn of the Dinosaurs, A Christmas Carol and Avatar, James Cameron’s first feature film since Titanic. Marcus hopes that with the new installations, approximately 90 per cent of the
communities it serves will be within a 30-minute drive from a Marcus digital 3D theatre location. The agreement with RealD provides for the installation of an additional 12 digital 3D systems in the future. The company installed its first 14 digital 3D systems in July 2008. RealD will provide the equipment and glasses for the 13 new digital 3D systems.
GDC’s to Incorporate RealD’s 3D Eq GDC Technology (GDC), a leading digital cinema solutions provider, and RealD, the global leader in 3D cinema technology are coming together to equip GDC’s digital cinema servers with Real D’s 3D EQ technology. The new technology enhances the separation of the left and right eye images. In the past, this process was incorporated into the master by the studios; RealD’s new approach incorporates the technology into the digital cinema server and therefore simplifies the distribution process without sacrificing the optimal 3D visual experience. ”As the leader in 3D cinema, RealD is focused on using our technology to make the creation and distribution of 3D content as efficient as possible,” said Joe Peixoto,
president of worldwide cinemas at RealD. “Working with GDC to deploy our 3D EQ technology in their digital cinema servers offers a streamlined approach so the focus can stay on delivering to audiences a 3D experience unlike anything they’ve ever seen.” ”GDC is a firm believer in bringing the best and latest feature sets available in its digital cinema servers to its customers,” said Dr Man-Nang Chong, founder and CEO of GDC Technology. “We are quick to notice the superiority of RealD’s technology and wasted no time to incorporate it in GDC’s line of digital cinema servers. This is another illustration of GDC’s alertness to emerging technology and incessant commitment to its customers’ needs.”
Moving Image, All Media to Fund Digitisation Moving iMage Technologies and has partnered with All Media Capital to assist theatre owners in participating in the 3D and digital cinema rollout, while at the same time providing means for the exhibitors to maintain control of their own projection equipment. With the recent announcement from Paramount Pictures, who has agreed to provide direct re-imbursement to exhibitors through VPFs, the time is considered ideal to get converted to digital. Since other studios are also expected to follow Paramount’s lead to offer the same type of reimbursements that they have extended to the large circuits, the coming together of Moving iMage and All Media is considered a significant booster to cinemas. ”3D is a real value-add to the exhibition community and the announcement by Paramount Pictures is a wonderful way to continue forward with the 3D/digital cinema rollout,” stated Joe Delgado, Executive Vice President, Sales and Marketing for Moving iMage Technologies. “Couple Paramount’s announcement with our relationship with All Media Capital and small to medium size exhibitors now have a viable path for implementing digital cinema today, rather than waiting for some large integrator to get financing.” According to him, though access to money has become tough in the current economic climate, All Media has
continually been able to fund clients at very competitive rates, “even when more traditional financing has dried up.” MiT has extensive experience in integrating and installing these digital and 3D systems, seamlessly interfacing to existing audio and projection equipment. MiT manufactures a full line of integration components for digital cinema including MPL projector bases, ICM automations and interfaces, iMAGE Mover track systems and custom cable and wiring harnesses. These components insure a high-quality and efficient installation. All Media Capital specializes in financing technology equipment for the professional audio/video market and entertainment industry. In cooperation with MiT, All Media Capital has already financed many digital cinema installations including systems for commercial cinema as well as post production. “In the current economic climate, where we have seen many banks tailor away from debtrelated financing we have seen a substantial increase in credit applications from exhibitors,” said Ryan Wilson of All Media Capital. “We have several different options to get exhibitors exceptional rates and industry specific programs which are not available to the bank or broker community” April-June 2009
• TECHNOLOGY •
Technology Edutainment As the cause of digital cinema gains momentum, the benefits of the format begin to unfold on as many forums as it had been advocated ever since the emergence of the format itself. Sports, cultural concerts, and education! The latest, and, arguably, one of the most conspicuous demos – for the purpose of edutainment – came to life recently at the California Academy of Sciences- an entity unique in more ways than one. It’s technology edutainment, taking to new, digital expressions! TW presents a perspective.
The benefits of digital cinema hardly need to be advocated today. Institutions and trade bodies world over, particularly those powered by a vision and means to technology have long began leveraging it- educational institutions, post-production houses, cultural venues et al. The latest, and the most fascinating of all, is here: The California Academy of Sciences (CAS). Located in San Francisco’s Golden Gate Park, the 155-yearold Academy, which was given a massive renovation through a $500 million project that spanned over a full decade, is unique, probably, more for its other distinctions than for digital cinema- which could mean it’s one among the many features. Consider this: •
The Academy is now the largest public Platinum-rated building in the world, and also the world’s greenest museum.
The Academy earned the platinum rating (highest rating possible) for Leadership in Energy and Environmental Design (LEED). This commitment to sustainability extends to all facets of the facility - from the bike racks and rechargeable vehicle stations outside the building to the radiant sub-floor heating inside the building to the energy-generating solar panels on top of the building!
It is the only institution in the world today to feature an aquarium, a natural history museum, a living rainforest, a planetarium, world-class research and education programmes, and, of course, a 3D digital theatre- all housed under a 2.5 acre green roof.
The green roof consists of rolling series of hills and valleys that are modelled upon San Francisco’s natural landscape. The roof’s native plants absorb 90-98 per cent of the building’s rainfall. All around the roof’s edges runs an encircling halo of photovoltaic cells, providing 60kW of electricity - enough to supply 5-10 per cent of the structure’s energy needs.
A transparent four-story dome in the museum’s east wing houses the Academy’s stunning ‘Rainforests of the World’ exhibit, complete with flying birds, insects, butterflies, and frogs hidden amidst the verdant green vegetation. Conceived as a ‘celebration of life,’ the exhibit will grow and change as its ecosystem develops - in three to five years the dome’s flora will enshroud it beneath an ethereal rainforest canopy. The incredibly unique design of the building has been rendered by world-renowned Italian architect Renzo Piano who was awarded Pritzker Prize in 1998 for his masterly prowess. Such an incredible place doing a 3D digital
• TECHNOLOGY •
theatre to support its educational and research programmes was only in the fitness of things. The honours of doing digital embellishments to the prestigious institution were shared, principally, by Dolby and Barco for server and projection solutions which were supported by AMX for controls, Meyer Sound for audio, HP and nVidia for real-time graphics, and SCISS AB for its Uniview 3D visualisation. It’s therefore, as haughty composition as the academic body- the world’s first fully DCI-compliant cinema within a scientific institution.
Dolby at the Centre of Action! The CAS and the veteran media and technology consultants at Visual Acuity chose the Dolby 3D digital
On an evening in 1853—just three years after California joined the United States—seven men assembled in a candle-lit room in San Francisco and founded the first scientific academy west of the Atlantic seaboard. The California Academy of Sciences soon became one of the west’s most popular destinations, drawing 80,000 visitors annually to gaze at its giant wooly mammoth, lifelike grizzly bears, native plant specimens and rare artifacts. But when the Great Quake of 1906 struck the city, the Academy’s home and all but a handful of specimens were lost. It would not be the last time that nature exacted a price from those who sought to study, protect and preserve it.
cinema system for the new Hearst Forum’s 3D theatre, the latest addition to the institution. The theatre’s screening began with Bugs!, an educational 3D movie complementing the Academy’s rainforest exhibit. ”High-quality 3D digital cinema experiences have moved beyond the movie exhibitor to broader, experiential venues like the California Academy of Sciences. This is a testament to the quality of the Dolby 3D solution,” said Page Haun, senior director of cinema marketing at Dolby Laboratories. “We are proud to be working with the California Academy of Sciences and Visual Acuity who sought delivery of a premium experience while doing their part to be environmentally savvy.”
In 1916, the Academy found a new home, the North American Hall in Golden Gate Park, where it grew over the decades to include Steinhart Aquarium, Simson African Hall, Science Hall, the Morrison Planetarium and more. Then, in 1989, nature again took its toll in the form of the Loma Prieta earthquake. Major structural damage left the Academy in need of another beginning. The Academy took advantage of this rare opportunity to rethink the Academy and the entire museum-going experience. The new vision: To create an institution for the 21st century - a premier destination of grand design, and one that would bring the latest in scientific research to the public in the most engaging, educational and inspiring way imaginable.
• TECHNOLOGY • As the world’s largest Platinum-rated public building, the Academy looked for an ecologically responsible technology to echo its vision. A 3D system that relied on disposable glasses would generate considerable waste- over 300,000 pairs of glasses every year. Dolby, therefore, came out with a clean, environmentally sensitive alternative, with reusable passive (polarised) specs that are washed twice a day. That the Dolby’s 3D glasses are eco-friendly passive glasses that require no batteries or charging, and can be reused hundreds of time without sacrificing the image quality is taken as their biggest quality count. “Selecting an environmentally-friendly 3D system was one of our goals,” said Ryan Wyatt, Director of Morrison Planetarium and Science Visualization at the Academy. According to him, the Dolby 3D Digital Cinema system appealed to them because it employs reusable glasses. In addition, the use of a washer modified from 220V to 480V enables the Academy to consume less power, helping it meet its green requirements. “That’s an added benefit to a system that also offers the most impressive 3D image quality I’ve experienced,” says Wyatt, “we wanted to use the latest technology to bring science closer to our audiences, to immerse them in our content, and to inspire them to protect the natural world.” According to Blair Parkin, foundermanaging director of Visual Acuity who handled the entire installation, Dolby was the only system that allowed them to connect an external 3D computer graphics cluster to the display and allow it to be used in 3D mode. “All of the other 3D cinema systems only permitted auxiliary display of 2D sources,” says Parkin, “this 3D arrangement had never been done before, and makes a real difference for a museum using DCI theatre technology.” Beyond the environmental advantages, that Dolby’s 3D system is extremely simple to operate with automation features that activate the show with the push of a button is one of the reasons for their choice, says the Visual Acuity chief.
Barco provided the projection solutions with its DP-2000 projector, the most popular model from its stable. It’s been claimed that the visuals, in association with Dolby, are outstanding and the system’s flexibility fits the Academy’s specific needs from both an operational and environmental standpoint. The audio system has been rendered in 7.1 by Meyer Sound, matching the quality of projection and image compression, with AMX and nVidia chipping in with their expertise. Overall, the CAS boasts one of the most sophisticated learning, and entertainment programmes that an institution of its status can offer to its audiences.
• TECHNOLOGY •
New MPA Initiative
Zooming Out on Pirates The war against movie piracy is an unending endeavour, so to say! Even as the trade bodies, enforcement agencies, wage a relentless battle against video pirate cartels, the entertainment evil, aided by technology and unyielding brains, continues to bother the cinema exhibition industry. The Motion Picture Association (MPA), continuing its mission against menace – launching one initiative after the other – recently came out with yet another aggressive measure- Operation ZoomOut. The operation did succeed in zooming out the offensive business operatives, but apparently revealed how much more needs to be done. In the last two years, the Motion Picture Association (MPA)-Asia Pacific had launched two offensives against movie piracy. In late 2007 through to early 2008, it launched ‘Operation BlackOut,’ and in mid 2008, it launched Operation TakeDown. Both the offensives have been fairly successful from the view point of the seizures made during the period. However, it also revealed the indispensability of continued efforts to weed out movie pirates from the business. The Operation ZoomOut – launched in late November 2008 and carried on till early 2009 – was the latest offensive and focussed on illegal camcording of movie releases. Thanks to the aggressive measures initiated as part of the exercise, the average number of camcorders sourced out of the region per week was reported to have dropped from 2.4 to 1.4 during the period of this Asiawide enforcement operation. As part of the mission, the MPA launched its follow-up training program ‘Make A Difference 2’ (MAD 2) for cinema staff and enforcement officers across the key regions said to be vulnerable to piracy. The anti-camcording training video was first screened to motion picture exhibitors and distributors at the CineAsia 2008, the annual movie industry convention and trade show held in December, 2008 in Macau. Over 360 participants received a copy of the ‘MAD 2’ DVD and training package at the convention. The 30-minute video sought exemplify how movies are normally camcorded in movie theatres by people who would otherwise be very decent and seemingly innocent. It also explained various measures the cinema operators need to initiate in the instance of finding a camcording case, and to prevent further occurances. Focus was placed on implementing deterrent measures such as the deployment of enforcement officers to patrol cinemas, the use of night vision goggles to detect anyone using a recording device, the establishment of anti-camcording reward schemes that seek the assistance of movie goers as well as the display and distribution of posters in cinemas highlighting that camcording is a criminal offence.
As a result, only 14 camcorders were sourced from the region and six people were arrested during the ten week operation. Prior to the operation, there were 113 camcording instances coming out of Asia Pacific since the beginning of 2008. Operation ZoomOut also saw the arrest of 370 suspected pirates, as well as seizures of over four million pirated optical discs and 767 optical disc burners, capable of producing hundreds of thousands of pirated movies a year and potentially millions in illicit revenue. Nearly 450 raids were undertaken by enforcement authorities in 12 countries across the Asia-Pacific. The countries where the Operation ZoomOut was conducted included Australia, China, Hong Kong, India, Indonesia, Japan, Malaysia, New Zealand, the Philippines, Singapore, South Korea, Taiwan and Thailand. The offenders zoomed out in various countries: • China: 74 pirate retail outlets shut down • Hong Kong: 2,034,800 pirated optical discs seized • Philippines: 1,301,300 pirated optical discs seized • Taiwan: 166 raids conducted; 135 people arrested • Thailand: 102 raids conducted; 100 people arrested; 500 burners seized ”All these measures have served to deter criminals from engaging in illegal camcording,” said Asia-Pacific for the Motion Picture Association president and managing director Mike Ellis. “The efforts made on the part of exhibitors across the region must also remain and be reinforced constantly for these measures to have a significant impact. According to him, the key to success of the anti-piracy operations, however, is the continuation of the close co-operation they have with governments around the region in reaching out to people about the gravity of its consequences. “We will require their further support in enacting anti-camcording legislation and imposing deterrent penalties in their countries,” he said, and added, “this will go a long way to ensure that this criminal activity is rooted out.” In the past four years, MPA has conducted nine bi-annual operations resulting in over 5,900 arrests and 44 million pirated optical discs seized. April-June 2009
• TECHNOLOGY • He proceeded to sell 5,433 fake licenses to over 100 companies/ websites for broadcast and broadband video-on-demand services.
First Online Piracy Busted in Thailand: Representatives from MPAThailand teamed up with officers from the Economic and Technical Crimes Suppression Division (ECOTEC) of the Royal Thai Police recently conducted the first ever raid in the country specifically targeting Internet piracy. It was the second significant operation since the start of the year following the January raid on a burner lab where 500 burners were seized. The police raided a residence in the Bang Su district of Bangkok and arrested a 40 year-old man, an unemployed former IT officer. The suspect confessed to running a webbased pirate operation from his home using pirated DVD copies as masters.
An anti-piarcy campaign poster put up in Silk Street in Beijing by MPA
MPA representatives worked closely with officer from ECOTEC to monitor the website operation for the past two months. The Thai language website, known as DVD 1081009, sold pirated movies as well as local and international TV series for less than $1 each. The raiding party found five packages ready for delivery to clients inside Bangkok and a notebook computer containing a database of his clients. Among the products seized were over 150 MPA member company titles such as Wanted, The Kingdom and Enchanted. Also seized were 14 packages of pirated DVDs from the nearby post office which the suspect had sent for shipment to buyers outside Bangkok. Initial investigations revealed that the suspect’s bank account showed an inflow of approximately $10,000 (THB 400,000) over a two-month period. ”We are very encouraged by the Thai authorities’ tough stance that has seen two successful and major operations already in the 2009,” said the MPA Asia Pacific chief. “It sends a clear and strong message to all the pirates who have been copying content for profit with impunity.” Piracy Suspect Convicted In China: The Beijing Xuanwu District People’s Court was reported to have convicted the local entrepreneur Yang Jianwei, for allegedly selling false online broadcasting licenses. This was the first criminal case relating to the fraudulent licensing of online broadcasting rights in China. Yang, the owner of Jin Hu Dong Network Technology Co. Ltd., was reported to have been sentenced to four years’ imprisonment and fined RMB1.5 million (US$219,317.44). His company has gone out of business as a result of the case. The verdict has come into force as Yang did not lodge an appeal within the requisite period. The court ruled that from 2002 to 2007, Yang had, without the consent of the copyright owners, digitally converted 460 Motion Picture Association (MPA) member company movie titles and a number of Korean movie titles and TV shows. TW-32
The Internet is becoming an increasingly important medium for both legitimate movie distribution and as a source of piracy. The China Internet Network Information Center (CNNIC), the administrative agency responsible for Internet affairs under the Ministry of Industry and Information Technology, reported that China overtook the United States as the world’s largest Internet population in June 2008. The number of Internet users in China reached 298 million by the end of 2008, representing a 41.9 percent growth compared to 2007.
The MPA, along with rights holders from many fields, had been lobbying long and hard for increased criminal prosecutions for copyright infringement. Expressing happiness about the proceedings of the case, the MPA Asia head said well-publicized criminal convictions with deterrent custodial sentences are an essential element of any strategy to discourage piracy and protect the creative industries. Illegal DVD Factory Uncovered in Malaysia: In the first raid of the year, a team of 15 enforcement officers from the Ministry of Domestic Trade and Consumer Affairs (MDTCA), assisted by staff from the Malaysian Federation Against Copyright Theft (MFACT), representing the Motion Picture Association (MPA) in Malaysia, recently uncovered and shut down an unlicensed replicating facility in Sungai Buloh, Selangor. They seized three DVD replicating lines, one printing machine and 800 kg of polycarbonates used in the manufacture of optical discs. Acting on a tip-off, the team entered what appeared to be a furniture factory located at Kampung Bahru, in the Sungai Buloh industrial area, about 30 km from Kuala Lumpur. A hidden door camouflaged as a wardrobe cabinet was found to be the entrance to a secret room in which three DVD replicating machines were operational and replicating six local movies titles at the time of the raid. Four suspects, who were on the premises during the raid, were taken into custody for further investigation. Conservatively, the factory lines were capable of manufacturing more than 10 million pirated optical discs in a single year, generating potential illegal revenues of in excess of $27 million. An estimated 5,000 pirated DVDs, fresh off the production lines were in boxes ready for delivery, including MPA member company titles Valkyrie, Australia, and Body of Lies. Preliminary investigations revealed that these pirate DVDs were headed for Johor, the Malaysian state south of Kuala Lumpur and just next to Singapore, for onward shipment out of the country.
• CINEMA SYSTEMS • Projection Series-XXIV
3D Film Projection 3D Film 3D Film Projection Projection Since the evolution of celluloid entertainment, there had been some truly fascinating formats that gave new expression to cinema. The three-dimensional format - popularly called 3D has been one. In today's digital age, the format is gaining more prominence than ever. For, the sheer variety of imagery takes the audiences into a whole new world of wonderment. As part of the continuing series on sound and projection, Theatre World, this time in the fourth part of Unit-VI, presents 3D film projection. At a time when film is fast disappearing, it may be relevant to know what exactly was, and, is, the 3D format. Like painters and photographers, filmmakers and cameramen have striven hard for long to give their audiences the perception of depth, within the limitations of a two-dimensional image. In the cinema, attempts to reproduce genuine 3D images had, however, not met with much commercial success, and therefore tended to be short-lived novelties. Any 3D projection system has to take account of the fact that the audiences perceive depth because they have two eyes, set about 2½ inches apart, which capture the same scene from two slightly different angles. We call this principle stereoscopy. The first application of stereoscopy to the photographic capture of images required two camera lenses and two films to capture the separate images for the left and right eye. Similarly, during projection, two separate images had to be projected simultaneously, but with a slight off-set, so that no matter where the viewer sat the left eye could only see the left image and the right eye the right image. Black-and-white stereoscopic films were first produced quite cheaply, using the anaglyph system where the two separate images are printed onto a single strip of film in two complementary colours. The film was then viewed using complimentary-colour filters so that the left eye image on the film was formed in blue green (cyan), and the right in red. The viewer viewed the left eye's bluegreen image through the red filter and the right eye's image through the blue-green filter. A superior Polaroid system was first used in 1939 at the New York World Fair. In this system, light polarizing filters were used to block out the unwanted image from each eye. The left eye's image was projected and viewed through a vertical polarizing filter and the right eye's image through a horizontal one. The screen for this projection system, however, had to be the same regular silver screen so that the light from the projector was reflected without changing its polarization. That the early system required two separate 35mm films running on
two interlocked projectors it was quite complex, and difficult to operate to perfection.
The principle of polarized 3D projection
The first public 3D screenings were in the 1920s using the anaglyph system. However, it was not until 1951, when the Polaroid system was used at the Festival of Britain for as many as 1220 sellout performances of a short film, that Hollywood started to take the idea seriously. Over the following three years the major studios made about 100 feature movies in 3D before the boom was over. Then they turned to the new 2D widescreen system - the Cinemascope - which did not require the audiences to wear glasses.
3D polarizing glasses
• CINEMA SYSTEMS • If cinemas receive a film in this format, the film distributor will also supply the special lenses to screen the film, but it will be up to the projectionist to see that the cinema screen is replaced by one with a silver or 'metal' surface. These screens are very directional - the further to the side of the cinema a patron sits the darker will be the image - so once the 3D film run is finished, it is advisable to have the normal screen reinstalled to facilitate normal viewing of regular 35mm film-based movies.
3D lens in the turret
When the projectionist receives the lens kit, it is again advisable to check that the kit contains a piece of test film, some 3D glasses, lens alignment tools, and full alignment instructions.
Detail of 3D split lens
For a sizeable number of years, 3D movies were released using the Polaroid method, however, they were all printed on a single strip of film. Still continued (the current digital era, however, does it digitally, totally eliminating the film), it's been a good thing for the projectionists, since most cinemas have only one projector! The modern system is commonly called the over-andunder 3D format, because the two 'scope' ratio images are printed one above the other, within a standard single frame area. Each image is two perforations high, the upper one being meant for the left eye, and the lower for the right. For projection, a special spilt lens is used, the upper half for the left eye and the lower half for the right eye with each section containing the appropriate polarizing filter. Today it is customary for the filters to be set at 45º to the horizontal in either direction, thereby adopting a 'V' formation.
3D alignment film & 3D film detail
The normal setup procedure for a 3D show: •
Choose a position in lens turret which will accept the lens, and insert it the right way up.
Thread up the test loop and project it through the Cinemascope lens on to the screen, placing the red dot in the centre of the screen.
Rotate the turret until the 3D lens is in position. The two images will now appear superimposed on top of each other, and there will be two crosses in the centre of the screen.
Rotate the lens again until one cross is above the other, and then adjust the two halves of the split lens (usually with an 'allen' key) until the crosses are superimposed on top of each other, appearing as a single cross.
View the image through the polarizing glasses and confirm the 3D image. By closing the left eye you should only see the right eye image - and similary with the left eye and its image.
If the picture does not fill the screen it may be necessary to fit a magnifier element, an assortment of which is often supplied with the film print.
It may also be necessary to increase the output of the xenon lamp, as the filters restrict the light output considerably. The projectionist needs to be careful that increase in the lamp output does not exceed its limit.
View a reel of the film, making sure that the correct frame line is visible when lacing up the projector. If it does not show the picture two holes out, all perception of depth will be lost. Check for the correct setting by moving the racking handle two holes and noting the effect. This will give you a reference for projecting the film to the public.
For any persistent problems, the projectionist must contact the print manager of the film's distribution company immediately.
CineAsia 2008 – the 16 th edition of Asia’s premier convention and tradeshow on motion picture exhibition industry – was held at the Wynn Macau and Macau Tower in Macau from 9-11 December. Famously referred to as the ‘Las Vegas of Asia,’ the host city and the event reflected its glitz and glitter albeit with perceptible reflections of global recession. The event gave a good reckoning in that it attempted to debate and find solutions to some of the most concerning issues facing the industry. Understandably, the technical sessions were marked by deliberations on the market upheavals and their impact on the industry (cinema development), emerging trends in 3D technology and availability of content, opportunities in 3D movie exhibition, and digital cinema and alternative content. The most notable aspect of this year’s event was its focus on developing markets, particularly India. The opening day breakfast seminar is titled ‘A Focus on India.’ The seminar discussion relating this session had as its panelists top execs from Big Cinemas, Fame Cinemas, Scrabble Entertainment and Twentieth Century Fox-Asia Pacific. The event, as usual was preceded by one day seminar by International Theatre Exhibitors’ Association (ITEA) where the International Cinema Technology Association (ICTA) had sought to address some of the most common issues faced by cinema operators. The first two days of the convention, however, had seminars on 3D as opening programmes of the technical sessions, while digital cinema also had its own share. The sessions of the three-day convention were interlaced by some of the most awaited product releases
by major studios that included a premiere of Disney’s Bolt in Digital 3D; Fox International’s Australia; and Warner Bros.’ Yes Man. There was a special preview of Paramount Pictures’ and DreamWorks Animation Monsters vs. Aliens in RealD 3D; Sony previewed few scenes from Terminator: Salvation. The tradeshow had the regular industry majors showcasing their latest product offerings. Most prominent exhibitors included Christie, Barco, Strong, NEC, Sony, and Kinoton from projection; Doremi, Dolby, Qube and GDC from digital servers and theatre management solutions; QSC and KCS from audio systems; and USL, Proyescon, Schnieder Optics, and Isco Optics from cinema equipment. Other majors include Imax, Harkness Screens, Golden Link and Vista Entertainment Solutions. The awards night was a moment of pride for India, as Tushar Dhingra was honoured as CineAsia’s Exhibitor of the Year 2008. It is the second honour for Indian cinema, after the first coming in the form of Special Achievement Award for Ajjay Bijli of PVR Cinemas in 2004. Sony’s Gareth Wigan was conferred upon the CineAsia’s Visionary Award. The other awardees included McG as Kodak Filmmaker of the Year; Mark Zucker, distribution president at Sony Pictures Releasing International as Distributor of the Year; and Naoshi Yoda and T-Joy Co., as winners of the Digital Cinema Award for Excellence in Marketing. The event, overall, appeared to have tried its best to debate and look for some directions to the global and the Asian industry for a recession-proof march ahead.
At Tradeshow Floor Sandy Media Christie
Doremi Golden Link
Sony Qube Cinema
Strong International Vista
Dolby GDC Technology
USL Inc Lijiang Seating
Philips QSC Audio
On Convention Floor John Carey of Dolby, Executive of XpanD, Bill Mead of DCinema Today, Joe Peixton of RealD and Younghoon Lee of MasterImage at the seminar on The New 3D
One of the regular, sponsored luncheons
Andrew Sunshine briefing the delegates at a programme
(L-R) Raghav of Sany Media, Jim Muray of Doremi Lab and Joe Peixton of RealD
Andrew Robinson of Harkness Screens exults in front of the robotic Terminator
At the Awards DLP Cinema Marketing Achievement Award Naoshi Yoda, T-Joy Co. Distributor of the Year Mark Zucker, Sony Pictures
Exhibitor of the Year - Tushar Dhingra, Big Cinemas
CineAsia Visionary Award - Gareth Wigan, Sony Pictures
Kodak Filmmaker of the Year - McG (Moon Bloodgood receives on his behalf)
Asia-Pacific Copyright Enforcer Award Jareuk Kalijareuk, Thai Film Federation
showcasing and demonstrating their latest offerings.
Some of the prominent exhibitors, among a total of over 80 exhibitors, included Crayz Lighting, Pope Professional, Pro Musicals, Hansa Cine Equipments (P) Ltd., Sound Land, Sound Scape, Soundtech Media, and Studio Assist.
The third edition of Cinema Today was held from 6-8 March at the Chennai Trade Centre in Chennai. After two successful shows in Chennai and Mumbai during the last two years, the three-day event moved back to Chennai. This year’s event was different from the two preceding ones in that it had all its concurrent tradeshows – pro sound & light, computer generated imagery, visual effects and gaming, media, and makeup and costumes – all were held together under one single roof. The move to have all the concurrent shows together was, however, not taken by some of the exhibitors who felt the focus is lost since they had visitors from all walks of life which could not relate to the exhibits on the show floor.
Some of the visitor-interesting aspects of the tradeshow were two pavilions dedicated to 78 years of Tamil cinema and K Balchandar’s Kavithalya which displayed images and accolades like mementos and trophies that Tamil cinema and Kavithyalaya have earned through their evolution. The event also had awards for short film production. The awards included ‘best short film,’ ‘best short film director,’ and ‘best short film producer.’
However, the event was commendable in that it had a sizeable number of exhibitors from different areas of the entertainment industry- some of them Entrance of Cinema Today 2009
Popular South Indian Music Director Devi Sri Prasad (left) having word with Raghav of Sandy Media
Ram (right) of Sandy Media with NDJ Ranganath and Janani of Prarthana Drive-in
Crayz Lighting Solutions
Pope Professional’s demo of sound systems
Hansa Cine Equipments
Silicon Digital Systems
30 March - 2 April 2009 Bally’s Las Vegas The 35th edition ShoWest – the most coveted platform of global motion picture industry – will unfold from March 30-Arpil 2 at Paris and Bally’s in Las Vegas. The industry’s biggest event, being held in arguably one of the most difficult times, is also seeking to address the industry with what it calls a ‘truly global’ approach. As a first measure in the direction, ShoWest 2009 – unlike the preceding editions – will not have a separate International Day. It will be rather an event that seeks to encompass the entire worldwide industry with programming geared toward anyone involved in the business of cinema exhibition.
currently represented 63 countries to an even greater number, and will have sizeable number of delegates. ShoWest normally attracts over 5,000 motion picture industry professionals from across various segments of the industry as this happens to be the biggest opportunity to preview major studio and independent feature films slated for summer 2009 release; see exciting and entertaining product reels of upcoming releases and most importantly network with top industry executives at the sponsored events.
According to the neilsen film group, the producers of the event, in the current digital era of simultaneous movie releases across the globe, the world is getting smaller by the hour, and exhibition business, whether in the Americas, Europe, or Asia, is faced with more or less same set of issues such as piracy, digital deployment and customer experiences- which is why ShoWest is also changing in tune with the times to embrace the new era of unified global industry.
With the industry apparently transitioning towards digital, and three-dimensional digital with alternative content regimes, issues like digital cinema, 3D, and 3D digital are surely going to take centrestage of debates and deliberations during the four-day convention. More, that the industry movements are taken by the recession at a time when the technological norms and standards got almost fully defined, and business lines are taking a clearer shape, the convention assumes the focal point of the global industry.
More, given the pressures of recession, and challenges that have been commonly impacting the industry across the world, this year’s ShoWest assumes more significance than its preceding events in that it has new, bigger issues to address- so much so to attract industry leaders and aspiring entrepreneurs who have been seemingly cutting their business plans. The organizers anticipate that participation at the four-day event will increase from the
That the event also hosts one of the largest trade shows of the cinema industry products, services and concessions items from across the world, ShoWest has a clear bearing on the industry movements through the year. Every year, it attracts around 250 exhibitors to the tradeshow. However, in the changed scenario, the number of exhibitors and the products showcased is to only be seen.
EXHIBITORS 1better LLC ............................... 511 ACS Enterprises ........................ 1222 Adaptive Micro Systems ........... 2019 Advanced Specialty Lighting .... 1317 Advanced Surveillance Technologies ......................... 1534 American Cinema Equipment ... 1429 American International Concession Products ............. 713 American Paper Optics ............ 1335 Artech ........................................ 1334 Atlantic Theatre Cleaning ........ 710 Baer And Associates ................. 1825 Bagcraft .................................... 602 Barco-Digital Cinema ............... 1931 Bass Industries .......................... 1734 BGW Systems ............................ 1800 Big Sky Industries ...................... 1621 Blair Communications .............. 811 Boca Systems ............................. 428 Bright Star Systems .................. 1421 C Cretors & Co ........................... 1301 Caddy Products ......................... 1520 California Seating And Repair . 1535 Camatic Seating ........................ 1915 Cantor Entertainment Changzhou Yuyu Electric ..... 810 China Cinetech .......................... 1324 Christie Digital..........1705/PALACE 2 Cinedigm Digital..................PALACE 1 Cinema Concepts ...................... 426 Cinema Equipment & Supplies . 1500 Cinema Lighting Corp ............... 316 Cinema Scene ............................ 520 Cinema Solutions ...................... 722 Cinema Source .......................... 1527 Cinemeccanica....................1505/1606 Cinestar Software .................... 502 Cinetize.com ............................. 1625
Cloud Industries ........................ 1623 Coca-Cola Company ..........1305/1405 Color Ad Packaging .................. 610 Component Engineering .......... 803 ConAgra Foods .......................... 1217 Continental Concession ............ 910 Continental Seating ................. 733 Crosspoint Fabrics ..................... 626 CRU-Dataport ........................... 2017 D-BOX Technologies .........1021/1120 Data Display USA ..................... 1634 DFE Technologies ...................... 1913 Digital Dining ............................ 806 digitAll ....................................... 1228 Dimensional Innovations .......... 1115 Dippin' Dots .............................. 533 Dolby Laboratories ................... 1605 Dolphin Seating ........................ 635 Doremi Cinema ......................... 1921 DTI Credit .................................. 913 DTS Digital Cinema ...........PALACE 4 Durkan Hospitality ................... 824 Dyson B2B ................................. 504 Eisenberg Gourmet Beef Hot Dog ................................ 1316 Embedded Processor Designs .. 314 Eomac ........................................ 1614 Euro Seating ............................. 1928 F'REAL! Foods ........................... 532 Fandango .................................. 2012 FBD Frozen ................................ 707 Filmack Studios ......................... 609 Fishbeck, Thompson, Carr & Huber, ....................... 503 Flicks Candy ............................... 409 Franklin Designs ....................... 1700 Fujitsu ........................................ 421 Funacho ..................................... 814 Garvey Nut and Candy ............. 1328
GDC Technology ........................ 1824 Gehl Foods ................................ 633 General Mills ............................. 513 Georgia-Pacific Corporation .... 611 Glassform .................................. 608 Gold Medal Products ................ 1821 Golden Link ............................... 620 Great Western LLC ................... 702 Great-Quantas International .. 2015 Greystone International .......... 615 Harkness Screens ...................... 1814 High Performance Stereo ........ 1702 Hollywood Movie Money ......... 734 Hurley Screen Corp ................... 413 Hytex Industries ........................ 1813 I.C.E. ........................................... 118 iCount USA ................................ 728 InFilm Marketing ...................... 1225 Inorca Seating ........................... 320 International Cinema Equipment Co ....................... 1934 International Cinema Technology Association ........ 739 International Electrical Wire & Cable ..................................... 05 Irwin Seating ............................. 903 Isco Precision Optics .................. 1014 Jack Roe USA ............................ 1507 JBL Professional ........................ 1601 JKR Partners ............................. 535 Jolly Time Popcorn .................... 724 Kelmar Systems ........................ 1725 Kernel Seasons .......................... 410 Kinoton America................1613/1712 Kinoton ..... .........................1615/1716 Lancer Corporation .................. 807 Lavi Industries ........................... 613 Lawrence Metal Products ........ 827 LBI / Boyd ................................... 1728
SPRING 2009 MARCH 30 - APRIL 2 SHOWEST, LAS VEGAS, USA www.showest.com
SUMMER 2009 JUNE 22-25 CINEMA EXPO AMSTERDAM, HOLLAND www.cinemaexpo.com
AUGUST 23-27 AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
AUGUST 26-29 BIRTV, BEIJING, CHINA www.birtv.com
SEPTEMBER 14-17 KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
AUTUMN 2009 OCTOBER 26-29 SHOWEAST, FLORIDA, USA www.showeast.com
WINTER 2009 DECEMBER 8-10 CINEASIA, MACAU www.cineasia.com
SPRING 2010 FEBRUARY FRAMES, MUMBAI, INDIA www.ficci-frames.com
MAY 7-9 CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
Lighting & Electronic Design .... 507 Lighting Images Technology ..... 1204 Little Giant Ladder Systems ..... 1121 MARS Snackfood US ................. 1521 Martek Contracts ..................... 1515 Mesbur & Smith Architects ...... 1626 Meyer Sound ............................. 1735 Mobiliario SA de CV .................. 821 Modular Hardware ................... 1912 Montague Design Group ......... 1524 Movie Cash ................................ 1501 Moviead Corp ............................ 1635 MovieBOOTY ............................. 509 MovieCoupons.com ................... 1024 Moving Image Technologies ..... 1729 National Association Of Concessionaires .................... 738 National Ticket ......................... 921 Nebraska Popcorn .................... 625 Nestle USA ................................ 902 Nevada Film Office ................... 1202 Odell's ........................................ 1425 Omega Pattern Works ............. 732 Omniterm Data Technology .... 721 Osram Sylvania ......................... 1820 Outpost 12 Studios ................... 1200 Packaging Concepts ................. 412 Paradigm Design ...................... 1726 Partner Tech ............................. 911 Pelican Productions .................. 938 PepsiCo Foodservice ................. 1805 Philips LTI ................................... 1216 Photo Research ......................... 1827 Poblocki Sign ............................. 1226 Posiflex ...................................... 715 Pot O' Gold ................................ 1022 Preferred Popcorn .................... 538 Premium Performance Sound ... 1206 Prime Ticket .............................. 1020 Printtixusa ................................. 923 Proctor Companies ................... 1715 Progressive - Flooring Services 828 Promotion In Motion Company 720 ProSTAR Industries ................... 310 Qsc Audio Products ................... 1509 Qube Cinema ............................ 1229 Quest Equipment / Therma-Stor ......................... 711 Quinette Gallay Intl .................. 514 Radiant Systems ....................... 515 Ranack Constructors ................. 525 RCM Media ................................ 221 Ready Theatre Systems ........... 414 Retriever Software .................. 726 Reward Wall Systems ............... 527 Reynolds & Reynolds ................. 709 RGS International ..................... 1015 Ricos Products Company ........... 1300
Roney International ................. 1720 Royal Paper Corporation .......... 604 SCA Tissue ................................. 510 Schneider Optics ....................... 1721 Schult Industries ....................... 1329 Scrabble Entertainment ........... LV4 Seating Concepts ...................... 1321 Shaw Hospitality Group ........... 628 Simply Right .............................. 909 Slush Puppie .............................. 623 SOLO CUP Company ................. 512 Sony..........1905/PALACE 3/PALACE 5 Soundfold .................................. 508 Splyce Incorporated .................. 703 St. Jude Children's Research Hospital ................................ 1802 Stadium Savers ......................... 1727 Stadium Seating Enterprises ... 729 Stein Industries ......................... 603 Strong International ........1205/1210 Summit Food Enterprises ......... 1600 Superior Quartz Products ........ 1629 Taste Of Nature ........................ 1516 Taylor Company ........................ 526 TekVisions ................................. 417 Tempo Industries ...................... 321 Texas Digital ............................. 1417 The BANKER by RSS Partners .. 832 The Cawley ................................ 1526 The Hershey .............................. 1924 The ICEE .................................... 621 TW - TheatreWorld Bin THX ............................................ 1829 TicketPro Systems .................... 1434 Ticketsoft .................................. 1110 Titan Technology Group ........... 926 TK Architects ............................. 1815 Tootsie Roll Industries .............. 712 U.S. Department of Homeland Security .............. 411 Ultra Stereo Labs ..................... 1221 Universal Cinema Services ....... 1528 Variety Children's Lifeline ........ 638 Ventura Foods LLC .................... 539 Veriana Networks (Velocast) .. 1914 VIP Cinema Seating .................. 1529 Vista .......... .....................................815 Vistar ......................................... 627 Vivian Company ........................ 632 Weaver Popcorn ....................... 912 Weldon Williams & Lick ............ 607 White Castle Food Products ..... 932 Will Rogers Institute ................. 114 Winters Janitorial ..................... 634 Wolf Theatre Services .............. 917 Worldwide Ticketcraft ............. 809 Wulf Installations ..................... 813
entertainworld The New Cinema Mill Mumbai, the movie capital of India! A city fast turning into cinema capital as well, with more number of movie screens than any other city in the country, moving past the national capital- thanks to the multiplex boom that had redefined the entertainment contours of the western metropolis! More, the cinemascapes are increasingly getting digital, powered by a new enthusiasm and entrepreneurism vying for its share in global transition into digital era- so much so that most new multiplexes coming to dot the metroâ€™s landscape. As India begins its journey into a DCI-compliant, all-digital cinematic world, Entertain World, this time, brings you yet another pictorial fiesta from Mumbaiâ€™s latest and largest, all-digital cinematic addition. PVR Phoenix Mill, Mumbai
The new PVR Phoenix Mill cinema, created in the Phoenix Mills Compound at Lower Parel in Mumbai, at the outset is a new revelation. Simply put, itâ€™s much more than just uniqueness of design and composition. Itâ€™s an exquisiteness expressed in entertainment, or vice versa, for a connoisseur mind, so to say! Located on the top floor of the Phoenix retail mall, the multiplex is a seven-screen cinema with an aggregate of 1,847 seats. Designed by internationally acclaimed Jestico+Whiles, in association with Mumbai-based Era Architects, the cinema is an ambience of different fascination altogether. Playing central to the stunning design
appeal is the central atrium/foyer that is characterised by elements more than one. The right side wall is characterised by by a walllength of movie imagery covering the elevator entrance point, and huge, vaulted art gallery enclosure running up to half of the wall-size. The facing wall (on the left) has a glittering snack counter, and topped by what looks like a vaulted star-lit sky, with a huge digital video wall in the centre divided into nine rectangular enclosures. The ceiling is designed in a dew drop effect with some of the drops holding onto illuminated lights. The richly embellished lounge / foyer enveloped in deep leather panelling and plush red
furnishings, exude a never-seen-before luxury. With cinematic terminology – action, thriller, romance – and symbolism all encasing the space, it’s a true mood-setting ambience. The cinema design, conspicuous for its stunning interiors, is a mark of ingenuity of Eranna Yekbote of Era Architects and Jestico+Whiles. (The British design firm – a trusted design entity for PVR had previously done the MGF Metropolitan multiplex in Gurgaon.) The auditoria are not ostentatious like the lounge, but are simple yet very suave in that they exude a comforting ambience. Done in stadium seating and adequate legroom, and edge-to-edge screens they offer pleasing sight angles. What’s
more the auditoria are equipped with DCIcompliant 2k digital projection system, comprising Christie projectors, and Doremi servers. Six of the seven auditoria feature sound systems from JBL, while the seventh – the largest of all, with a 60-feet screen and 500-plus seats – is equipped with 4-way speakers from QSC, the only company with such distinction. The entire install had been done by Mumbai-based cinema major MRH Digital, with the 2K install having been channelized through Scrabble Entertainment. Overall, Mumbai has a new entertainment destination, defined in different parameters altogether.
F U T U R E
R E L E A S E S
A glimpse of movies coming to Asia this spring or laterâ€Ś Adventureland
Hannah Montana Production Miramax Films
Production Walt Disney
Director Greg Mottola
Director Peter Chelsom
Starring Jesse Eisenberg, Ryan Reynolds
Starring Miley Cyrus, Emily Osment
Genre Comedy, Family
Fast & Furious
Observe and Report Production Universal Pictures
Production Warner Bros.
Director Justin Lin
Director Jody Hill
Starring Vin Diesel, Paul Walker,
Starring Seth Rogen, Anna Faris
Genre Action, Thriller
Genre Dark Comedy
Production 20th Century Fox
Production Warner Bros.
Director James Wong
Director Burr Steers
Starring Justin Chatwin, James Marsters
Starring Zac Efron, Leslie Mann
Genre Action, Adventure, Fantasy
F U T U R E
Crank: High Voltage
R E L E A S E S
Production Screen Gems
Director Mark Neveldine
Director Steve Shill
Starring Jason Statham, Amy Smart
Starring Idris Elba, Beyonce Knowles
Genre Action, Drama
State of Play
Battle for Terra Production Universal Pictures Director Kevin Macdonald Starring Russell Crowe, Ben Affleck Genre Thriller
Production Roadside Attractions Director Aristomenis Tsirbas Starring Justin Long, Brian Cox Genre Adventure
Ghosts of Girlfriends Past Production Disneynature
Production Warner Bros.
Director Alastair Fothergill
Director Mark S. Waters
Starring James Earl Jones
Starring Matthew McConaughey, Jennifer Garner
Genre Adventure, Documentary
X-Men Origins: Wolverine Production Rogue Pictures
Production 20th Century Fox
Director Dito Montiel
Director Gavin Hood
Starring Channing Tatum, Terrence Howard
Starring Hugh Jackman, Liev Schreiber
Genre Fantasy, Sci-Fi, Thriller
F U T U R E
My Life in Ruins
Director Donald Petrie
Director Damien Wayans
Starring Nia Vardalos, Richard Dreyfuss
Starring Damon Wayans Jr., Craig Wayans
Genre Comedy, Romance
Genre Action, Comedy
Land of the Lost Production Summit
Director Benny Boom
Director Brad Silberling
Starring Donald Faison, Mike Epps
Starring Will Ferrell, Danny R. McBride
Genre Action, Comedy
Genre Adventure, Comedy
Angels & Demons
Production Columbia Pictures
Director Ron Howard
Director Anne Fletcher
Starring Tom Hanks, Ewan McGregor
Starring Sandra Bullock, Ryan Reynolds
Genre Suspense Thriller
Production Fox Searchlight
Next Day Air
R E L E A S E S
The Taking of Pelham 1 2 3
Production Warner Bros.
Director Tony Scott
Starring Christian Bale, Sam Worthington
Starring Denzel Washington, John Travolta
Genre Action, Sci-Fi
Genre Action, Thriller
F U T U R E
R E L E A S E S New York
8X10 Tasveer Production Percept Picture
Production Yash Raj films
Director Nagesh Kukunoor
Director Kabir Khan
Starring Akshay Kumar, Ayesha Takia
Starring John Abraham, Katrina Kaif
Main Aur Mrs Khanna
Production UTV Motion
Production Eros International
Director Prem R Soni
Director Anil Sharma
Starring Salman Khan, Kareena Kapoor
Starring Salman Khan, Mithun Chakraborty
Genre History, War
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Published on Nov 15, 2017