A New Cinematic ‘Space’
Now, HD Live in 3D Cinema
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Hollywood Scripting Green Story TW-
35 Preview - Cinema Expo Review - ShoWest
SPECIAL FEATURE TW-
European (Cinema) Revolution!
CINEMA SYSTEMS TW-
Audio Visual Projection
F U T U R E R E L E A S E S
MMindshare TW EDITORIAL
High-def television is the current technology that consumers have widely adopted for their visual display entertainment at home, whether it is broadcast or buy-media like bluray. To get patrons out of their homes to destination entertainment options like cinema multiplexes, the exhibiton industry first adopted 1k digital, then 2k and is now gravitating towards 4k. Though 4k is four times the pixel count of 2k and high-def television, it provides almost a parallel experience. To make it superlative and score over television, professional cinema is ushering in 3d whether in 2k or 4k. The cat and mouse game between television and cinema since their advent has been fascinating, and as this editorial goes to press, 4k 3d represents the pinnacle of visual display entertainment. Television has no answer as yet though it is working on consumer 3d broadcasting. Everybody in the industry recognises the competitive edge that cinema exhibition has gained with 4k 3d so much so that equipment manufacturers are now churning out standard hardware that is capable of 4k 3d and backward compatible. How 10 years have made such a huge difference to movie projection! Just a decade earlier 1k digital (e-cinema to some) TW-4
was being experimented and swiftly, even without a full-scale roll-out of 1k or 2k, we are leapfrogging straight to 4k and that too 3d. In some countries, the governments are proactively supporting 4k 3d! However, all this is gaining traction in the developed world mainly, and unwittingly creating more disparity between the developed and developing nations. On the other side, there are cinema screens that have not even graduated to xenon from arc-carbon! And those who have gone beyond xenon are languishing on 1k. The global cinema industry in its own interest needs to examine how it can facilitate the 4k roll-out in the ‘shadow’ regions that bridges the technology gap rather than let it widen. There are no readymade or easy answers, but a beginning needs to be made.
Sandeep Mittal Editor / Publisher
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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.
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European Cinema Erupts with Digital Stakes European entertainment landscape is changing thick and fast, with ‘high’ stakes. Digital roll outs, including 3D digital installs; live HD content in 3D; and now, promotional campaign on leveraging the digital technology for multiple benefits. Every interested cinema professional, even if no stakes, is invited. Come July 14, and see how it can educate you. Quantum Digital, the leading supplier of satellite solutions to UK cinemas, will film and broadcast live via satellite a special presentation on 14 July from London, featuring key industry professionals, designed for cinema owners and distributors to understand how satellite technology is becoming increasingly adopted and how best to utilise it. The broadcast will be available to satellite-equipped UK cinemas free-to-air as an industry awareness initiative. Anyone who is on-screen with a movie during the broadcast can watch via a TV. A special DVD of the presentation will also be made available, including an Information Pack. The programme will also be made available on YouTube. Despite having the most widely deployed satellite system in the UK, with close to 100 cinemas equipped with professional 1.2m dishes, the presentation will take an impartial, agnostic view and explain what considerations need to be made even if taking a system and transmission from another provider. Quantum’s Marc John says: “It won’t be an advert. It doesn’t matter who you buy kit from, everything’s interoperable. There are still fundamentals that need to be understood. Broadcasts sometimes run on systems supplied by Quantum without us being involved in the transmission, so it’s a general refresher as well as a ‘heads-
up’ for managers about a few things, particularly how to get ready for DCP delivery via satellite. I take so many calls. A nationwide link seemed practical, especially as live questions can be taken via SMS.” Quantum’s unparalleled experience managing live broadcasts and direct relationship with exhibitors installing satellite systems, has provided unique and invaluable knowledge which can be shared to the benefit of all. “Managers and projectionists play a big role in the success of this. They discover things that not even the best manuals in the world can tell you,” John says, and adds, “no matter how much anyone knows about satellite, we still rely on local know-how when it comes to digital era sound and projection. The exchange of information around the country has been priceless since the satellite network launched in 2006.” The educational Satellite Education Programmes will be annual broadcasts, with a supplementary YouTube series - the first of its kind - to launch over the summer, to include video diaries of satellite site surveys and installations taking place, interviews with cinema managers and projectionists, along with in-depth projection room coverage showing how live and DCP content delivered via satellite is interfaced within the d-cinema set-up. Twitter will also be utilised to ensure the widest possible networking of information and dialogue.
Christie Grows 400 pc in Asia Pacific Christie Digital Systems announced it’s been enjoying explosive digital cinema growth of more than 400 per cent in the Asia Pacific region. With major deployment deals for the Christie CP2000 series of DLP Cinema projectors this growth firmly establishes Christie as the undisputed industry leader. To date, over 600 sites in Asia Pacific have installed Christie digital cinema projectors, with an additional 500 sites scheduled for conversion by the end of this year. After posting a record of over 7,000 completed installations worldwide just three years after launching the world’s largest digital cinema deployment plan, Christie is now driving the growth of digital cinema in Asia Pacific, with many countries in the region embarking on large-scale digital cinema plans. Development deals have accelerated in South Korea, Thailand, India and China, with Christie projector installations leading the film-to-digital transition. South Korea-based D-Cinema Korea Co. Ltd (DCK), the joint-venture company of CJ CGV and Lotte Cinema, has also announced a Virtual Print Fee (VPF) deal with major Hollywood studios that will launch the country’s largest digital cinema deployment to date. The studios, including Paramount Pictures, Twentieth Century Fox and Universal Pictures, have agreed to provide digital theatrical releases and pay VPF for each title to help offset the initial costs of conversion. For the initial deployment of the plan, Christie will provide its Christie CP Series projectors in theaters across the country. The agreement strengthens DCK’s leadership in digital cinema and introduces a new era in content distribution for Korea. With this, South Korea is expected to be the first, fully digitized country in the world. In Thailand, Christie has worked with its Thailand-based partner, Golden Duck Group, to develop the local cinema scene. Major Cineplex Group, the country’s largest exhibitor, has also recently adopted a full Christie digital cinema solution for their theatres in Bangkok. In addition, SF Cinema, the second largest chain in Thailand, is also a firm supporter of the Christie CP2000 Series. Christie’s digital cinema growth in China has gathered momentum since the triumphant performance of a record number of Christie digital projectors at the 2008 Beijing Summer Games ceremonies. Together with Beijing Time Antaeus (TA) Media Tech. Co., Ltd., Christie provided 120 Christie CP2000-ZX models that delivered a spectacular presentation for the event and demonstrated their full flexibility in a non-cinema environment. After the ceremonies, these projectors were installed in TA’s theaters across China as part of the country’s film-to-digital conversion. In addition, China’s r enowned Shanghai Film Gr oup (SFG) Corporation and Lianzhong (LZ) have also selected
Christie exclusively for their respective nationwide digital cinema rollout plans. In India, Christie continues its collaboration with Scrabble Entertainment (SE); to date it has successfully installed 200 Christie DLP Cinema projectors for India’s largest single digital cinema deployment. This historic roll-out brought the digital cinema revolution to India. Christie projectors are now installed in theaters owned by PVR Cinemas, Fame Cinemas, INOX and Fun Theatres across the country. “In the recent digital cinema deployment plans, Christie has expanded its market share in the Asia Pacific region very rapidly and surpassed the growth rate of most digital cinema providers in this part of the world,” says Lin Yu, vicepresident, Christie Asia Pacific. “Leading exhibitors are now opting for Christie digital cinema solutions as they have witnessed successful Christie implementations worldwide, including the US,” You says, adding, “our recent series of digital installations in the Asia Pacific is a testimony to the undisputed global quality of our entertainment solution and strong technical support team to help theaters complete their film-to-digital transitions.” According to Jack Kline, president and COO, Christie Digital Systems USA, Inc., these international deployments position the Asia Pacific region as the next frontier for digital cinema. “Christie’s successful participation is backed by extensive experience, market leadership, and broad insight into the needs of the industry,” the Christie top executive says, “to compete on the world stage requires vision on a large scale. Christie is forging global partnerships with all the major industry players to provide the exceptional movie viewing experience of digital cinema.”
Sony Unveils Biggest Ever Global Picture Sony Electronics has unveiled a big picture, bigger than what most might have anticipated. In what is taken by the global cinema industry as the biggest challenge to Texas Instruments’ DLP Cinema dominance, the Japanese electronics giant broke new grounds recently for the largest ever roll out of its 4K digital cinema involving world’s largest cinema chains, and also augmented the same with other deals. The technology war in entertainment is back. In two major developments in the world exhibition business, 4K digital projection solutions developer/provider signed agreements with Regal Entertainment Group, and AMC Entertainment – the world’s largest and second largest cinema circuits respectively – to roll out, perhaps, the largest 4K projection network since the format hit the industry. That the announcements from both the cinema chains say they would deploy 4K systems “across the network,” the resultant network would be as big as the current 2K deployment of Texas Instruments. The deployment would be executed over the next three to five years’ time as part of the initiative led by Digital Cinema Implementation Partners, LLC (DCIP)- an organization formed in 2007 by Regal, AMC, and Cinemark. For the record sake, Regal Group operates as many as 6,793 screens across 551 locations in 39 States of the USA, while AMC operates a total of 4,628 screens from 309 locations. Cinemark – which has its presence in both North and South America – on the other hand, operates as many as 4,846 screens from 39 States in the US, and 12 Latin American countries. The three, put together, will scale up to over 14,000 or more than 30 per cent of the North American cinema exhibition industry. The projection major might add a few more chains – as it is already doing – possibly making its network the world’s largest. Of the proposed 4K roll out, 1,500 cinemas by Regal are said be lined up for 3D digital. So, the picture is really big, and ambitious. While Sony already has an agreement with Muvico Theatres, it recently signed deals with four others: Alamo Drafthouse at the Village in Austin, and the The Palace Theatre Canadian in Texas; Lincoln Square Cinemas in Bellevue in Washington; and Channelside Theatres in Tampa in Florida. More, all these exhibitors intend to make 3D an integral part of their installs, and also use the technology for non-feature movie content programming.
While there is very little 4K content today, a growing amount of content is being shot with 4K cameras or telecined at a 4K resolution. Sony Pictures Entertainment recently announced it will make and release most of its filmed productions using 4K technology. To support this, Sony is currently developing a complete line of digital 4K cinematography production equipment, including systems for 4K acquisition, storage and post-production. For 3D content, Sony has a lens attachment that allows the left and right eye images to be displayed in an over/under format on the imager and then optically combined for projection on the screen. The resolution of the 3D image will be 2K, similar to DLP projectors, but instead of being triple flashed it will display the left and right eye images simultaneously. Like DLP 3D projection, it will require a silver screen. 3D light levels are typically the same- 4 to 5 Ft-L or about 1/3 the recommended level for 2D movies. However, neither AMC or Sony specified what percentage of the new projectors would be equipped for 3D. That the roll- out, though already begun early 2009, had slowed down owing to recession-induced fund crunch, Sony also announced a deal with Walt Disney Studios to provide operational and financial resources to exhibitors for adopting its 4K SXRD projection technology in both 2D and 3D digital cinema-enabled screens across North America and Europe. Sony’s digital cinema group has now signed digital cinema deployment agreements with four major studios: Walt Disney, Twentieth Century Fox, Paramount Pictures, and Sony Pictures Entertainment. Pact with DCSS for Asian Expansion: Sony Pictures Release International (SPRI) signed a deal with Sony Electronics’ Digital Cinema Solutions and Services (DCSS) group for 4K DCI-compliant digital cinema deployments in Hong Kong, Japan, Korea, Singapore and Taiwan. This
announcement now provides exhibitors in major parts of Asia with operational and financial resources needed to implement DCI-compliant 4K SXRD projection technology. SPRI and DCSS previously announced plans to work together in digital deployment in Europe and North America. DCSS has already entered into agreements with four other studios — Paramount Pictures, Twentieth Century Fox, and Walt Disney Studios Motion Pictures International - for deployments in the United States and Canada. DCSS now has agreements with two major studios for Asia - Sony Pictures Entertainment and Twentieth Century Fox. “The growth of digital cinema is a worldwide technological reality, so it makes sense that any
agreement covers the broadest reach possible. We’re extremely pleased to be working with SPRI on our expanded joint efforts,” said Sony Electronics’ Digital Cinema Solutions and Services Group senior vice president Mike Fidler. ”As we move toward an all-digital future, exhibitors are going to need the product, resources, and marketing support of companies like Sony Electronics and its Digital Cinema Solutions and Services group, in order to offer their customers the most compelling state-of-the-art cinema experience available today,” said Sony Pictures Releasing International Corporation president Mark Zucker.
MPAA Seeks More Energy The Motion Picture Association of America, Inc. (MPAA) urged the law enforcement agencies across the global cinema geographies to step up their efforts to prevent video piracy and protect the intellectual property rights of the moviemaking community. MPAA Chairman and CEO Dan Glickman, appearing at a recent media conference with the co-chairs of the Congressional International Anti-Piracy Caucus (IAPC), noted that dealing with escalating IP theft is far more important during the current difficult economic times as the creative industries generate millions of jobs each year, as many as 2.5 million jobs coming from motion picture industry alone. ”During tough economic times it becomes even clearer how important it is to protect those industries that are truly creating jobs and generating revenue,” Glickman said. “I appreciate the efforts of IAPC …as they recognize that our future place in the world will be determined less by the sweat of our brows and more by the value created with our minds – and that value is worth protecting.”
The IAPC members released the Caucus’ 2009 Priority Watch List which highlights five countries where piracy has reached alarming levels. This year the group identified Canada, China, Mexico, Russia and Spain. Canada has appeared on the IAPC Priority Watch List for several years and last month was elevated to the United States Trade Representative’s Special 301 Report’s Priority Watch List, as well. The MPAA chief felt it was important to draw attention to the fact that Canada is lagging behind other organizations for economic co-operation and development. He also pointed to Spain, where Internet piracy continues to go unchecked, harming not only to US creators but also to Spanish artists. ”The US motion picture industry is constantly looking for new and innovative ways to deliver creative content to consumers, particularly over the Internet. It is extremely important that US trading partners have effective legislative frameworks for protecting creative content online and that they enforce IP rights in the digital environment,” Glickman said.
Dolby, Arquiva Join for New E-Delivery Network Dolby Laboratories, Inc. launched Dolby Direct Distribution Services- a pan-European satellite content delivery network for digital cinemas. The service is provided in association with leading digital network solutions provider Arqiva and uses their international satellite infrastructure to distribute feature movies, trailers, and advertising content direct to their participating exhibitors and cinemas throughout Europe. Dolby Direct Distribution Services will simplify the cinema distribution process, eliminating physical delivery and manual upload of digital content onto individual cinema servers. The new services, coupled with Dolby’s world class JPEG 2000 compression and two-pass encoding system, delivers Digital Cinema Packages (DCPs) efficiently without compromising quality. The incredibly low file sizes offered by Dolby DCPs are a key element in the efficient use of satellite as a highly effective delivery platform. “Dolby is committed to utilizing the most effective methods to deliver cinema content. Our new service using Arqiva’s satellite delivery network offers very exciting TW-12
opportunities in that area,” said Richard Welsh, digital cinema services manager, Dolby Laboratories. “Arqiva’s extensive experience in delivering live content via satellite to cinemas, coupled with their core satellite expertise and international infrastructure, makes them an excellent technology partner for this innovative service.” Arqiva operates at the heart of the broadcast and mobile communications industry and is at the forefront of digital network solutions and services. The company provides much of the infrastructure behind television, radio, and wireless communications in the UK and has a growing presence in Ireland, mainland Europe, and the United States. “We see electronic content distribution as the future of cinema and satellite is the most efficient means of delivering content to multiple sites across countries and continents,” said Barrie Woolston, Commercial Director of Arqiva’s satellite and media division. “We are delighted to have entered into this partnership with Dolby which we believe represents an important advance for digital cinema.”
Doremi Gets to Down Under for D-Cinema Doremi Cinema announced an agreement with Sydneybased Edge Digital Technology to supply its DCP line of digital cinema servers in Australia and New Zealand. The arrangement includes a commitment by Edge to make Doremi their preferred supplier of digital cinema systems. “Doremi Cinema has been a driving force in digital cinema technology. Their continued ability to increase the feature set in their servers is unmatched,” Peter Williams, GM of Edge, commented. “We are thrilled to represent their products to the Australian and New Zealand market as this region expands its transition to digital exhibition.”
Says Michael Archer, VP of Doremi Digital Cinema: “Doremi prides itself on partnering with highly qualified cinema integrators around the world comments. Given our proximity to Australia, we knew we had to partner with a company not only entrenched in the exhibition community, but one that has the technical prowess to provide the service and support required for digital cinema. “Edge has an outstanding reputation and track record for installing the latest digital cinema technology to hundreds of screens throughout the region. We are pleased to partner with them,” he added.
Barco, Kodak in Worldwide Digital Agreement Digital cinema projection technology company Barco signed an agreement with Kodak to set up a worldwide network of 10,000 digital cinemas. Under the agreement, Barco will supply its igital projectors to support Kodak’s digital screen management servers and theatre management systems, making a fully integrated digital cinema system. Barco has developed a modular digital cinema projector platform offering a cost effective solution for every screen size. Barco has launched a Certified Service Partner program to establish a worldwide support network with the highest quality local service and support. As part of the supply agreement, Kodak technicians will also participate in the Barco Certified Service Partner program.
”We are proud to have been selected by Kodak; this is the continuation of a long-term relationship. Our modular design and complete family of projectors provide Kodak with the total cost of ownership and superior image quality required for worldwide audiences,” said Barco digital cinema business vicepresident Wim Buyens. ”Barco has a long-term commitment to high quality projection technology in digital cinema. We are already working with them in a number of multiplexes in the United States and beyond. By combining Barco’s capabilities with ours, we can jointly provide a complete solution to the marketplace. This new agreement will be a good fit for both companies and for our customers worldwide,” said Kodak Digital Cinema chief operating officer Les Moore.
Yelmo Cines in Pact with XpanD on 3D Digital XpanD, a worldwide authority in 3D cinemas and technology platforms, is collaborating with Spanish cinema major Yelmo Cines, to set up a chain of 3D digital theatres across the circuit.
features, including replacement batteries and security tags. The ecology-minded reusable glasses are the perfect fit to the European philosophy.
Leading Spanish cinema equipment player Suministros Kelonik will be the installation partner for the initiative. Yelmo Cines, which has a presence with 370 screens and growing, and enjoys around 12 million patron visits annually, has already installed six of the 29 intended Xpand 3D screens for 2009. Gearing up for the continued line-up of solid Hollywood 3D movies, Yelmo Cines took up the convergence of the digital environment with a view to enhancing the movie going experience as well as the box office revenues.
”Spain continually proves to be a demanding cinema market and we’re extremely pleased to be partnering with our friends at Yelmo Cines—they’re an awardwinning, creative and well-respected exhibitor,” says Maria Costeira, CEO of XpanD. “Our combined organizations share a valuable business relationship, and believe there are many collaborative endeavors ahead, as our mutual goal is to deliver the best 3D guest experience possible.”
Through a series of recent announcements by XpanD, which is offering a competitive package on multiple systems to mid-July, European territories will gain strength and Spain is considered one of the leading progressive regions by partnering with XpanD, which has grown substantially in the last couple of months with the launch of their newest model, the X101 Series, the most superior stereoscopic viewing platform with a host of special
”We believe in offering the best cinema going experience to our patrons, and in the case of 3D digital cinema, XpanD is our selection for achieving this goal,” says Enrique Martinez, Technical Director for Yelmo Cines. “In terms of technology, XpanD has demonstrated with their new active glasses model, the capacity for improving the 3D solution, which is a key factor for us in an industry where the technology is moving forward very quickly.” July-September 2009
GDC, Barco to Digitise Hengdian Cinemas GDC Technology (GDC), one of the leading digital cinema solution providers and Projection major Barco signed a digital cinema deployment contract with Zhejiang-based Hengdian Entertainment Co., Ltd (Hengdian), a subsidiary of Hendian Group. Hengdian is the biggest private company in the film and television industry in China, and is also the thirteenth largest exhibitor in China. The contract will see the initial deployment of 20 digital cinema projection systems for Hengdian over threemonth. The DCI-2000 digital cinema integrated projection system, which consists of GDC’s SA-2100 digital cinema server and Barco’s DLP Cinema projector, will be adopted in this deployment. With a registered capital of 300 million RMB, Hengdian is a leading Chinese company in the film and television industry with a multitude of business interests including cinema chain operations, filming and marketing of TV drama series, and financing of TV and movie related investment projects. “With the largest number of installations which is way ahead of its nearest competitor, GDC and Barco are the undisputed leading digital cinema solution providers in China,” said. Xu Tianfu, General Manager of Hengdian. “We have great faith in GDC and Barco’s vast experience and proven track record, and it is the clear choice for our deployment program.” With over 700 digital cinema projectors installed, Barco is leading the market in China. To serve its customers the best possible way, Barco has recently established a 24hour service network to ensure its customers’ equipments are always in good running order. The high market share
stands as a solid affirmation of Barco’s hold on customer satisfaction and confidence in the China market. “This project is a continuation of our close partnership with GDC in the deployment of digital cinema systems in China,” said Frank Christiaens, managing director, Barco China. “We value this partnership and are confident to see more successes coming our way as digital cinema takes off in China.” “Hengdian Group is no ordinary company in China and how it has developed the world’s largest entertainment conglomerate from scratch over 10 years is itself a legend,” said Dr Man-Nang Chong, founder and CEO of GDC Technology. “We are excited to work with a company with such an illustrious background, and see great potential working with it who is now in the early days of its exhibition business.”
CGR, RealD to Build French 3D Circuit French cinema giant CGR Cinemas, and RealD have inked a partnership to build out France’s largest 3D circuit. The deal envisages to network as many as 200 screens, that the largest French cinema company owns, with RealD 3D infrastructure. ”We are happy to be the precursors of new technology for French and European cinema by allying with the known world leader in 3D systems, RealD,” said CGR Cinemas CEO Jocelyn Bouyssy. “This is another example of CGR Cinemas seizing opportunities first, which make it one of the pillars of French film exhibition today,” he said, adding, “this collaboration will allow us to take advantage of upcoming 3D films beginning with Ice Age: Dawn of the Dinosaurs.” Says RealD Europe Ltd managing director Bob Mayson: “We’re excited to work with CGR Cinemas to bring the marketleading RealD 3D experience to all of their locations. Audiences are seeking a new and engaging cinema experience that CGR Cinemas and RealD together will provide through this agreement to build out the largest 3D circuit in France, and one of the biggest in Europe.”
3D Honour to Leicester Square Cinema Empire Leicester Square has become Europe’s first auditorium to utilize the new Dolby 3D Digital Cinema large screen solution. The Empire installed the Dolby 3D system in time for the United Kingdom premiere of Walt Disney Pictures’ Jonas Brothers: The 3D Concert Experience. The movie will premiere in front of an invited audience of more than 1,300 guests. The new Dolby 3D large screen solution combined with Barco’s digital cinema twin-projector allows exhibitors to project Dolby 3D onto standard, non-silver screens ranging from 12.5 to 21 meters, surpassing the previous size limit of 12 meters. The Empire Leicester Square, one of the UK’s oldest and largest cinema venues, regularly hosts movie premieres. With its 20-metre screen, the Empire boasts one of the largest screens in the country. Empire Cinemas operates 144 screens at 16 locations across the UK. Its flagship, the Empire Leicester Square, first opened its doors as a theatre in 1884, and from the earliest days of the moving image, it played host to the technological advances of cinema. In March 1896, Louis and Auguste Lumiere gave the first theatrical performances of a projected film to a paying UK audience at the Empire, assuring it a unique place in cinema history. The current six-screen theatre configuration has a seating capacity ranging from 26 to 1,330 seats.
With a growing number of 3D movies scheduled for release in “exhibitors have told us they want 3D without compromise and our new large screen solution provides the right amount of light and striking images for screen sizes reaching all the way up to 21 meters. This allows venues like Empire Leicester Square to show 3D in their largest auditoriums to maximize revenues on 3D presentations,” said Dolby Laboratories director, international cinema sales Guy Hawley.
British Movies Rake in $4 Billion in 2008 British movie industry has hit a purple patch in 2008, or so it appears. Movies released during the year raked in over $4 billion in box-office takings worldwide. The record breaking result gave the UK 15 per cent of the global market share, up from 12 per cent in 2007 – further evidence of the UK movie industry’s global reach, as well as the strength of its contribution to the domestic economy. UK Film Council CEO John Woodward said, “global cinema audiences spent well over $4 billion on British movies last year - that’s a phenomenal achievement and is a measure of UK film’s vital contribution to the wider economy. According to him, maintaining that level of commercial success was essential– encouraging inward investment, securing jobs, and boosting Britain’s reputation as a world leader in cultural excellence. ”British films have made a huge impact on the world stage in the past year and this is testament to the talent, drive and creativity of our film-makers and actors, spectacularly recognised by the awards successes of recent months,” UK Minister for film Barbara Follett added. “Film production remains a vital creative industry and the tax credit continues to bring in a high level of inward investment.”
The top 10 UK movies took over $3 billion worldwide, while eight movies each grossed over $100 million, according to newly-released figures. Big budget movies attracted significant inward investment last year with Quantum of Solace, Mamma Mia! The Movie and The Dark Knight all major contributors to the UK’s global box office success. Other titles to make the UK top ten worldwide included movies such as Atonement, The Other Boleyn Girl, and The Chronicles of Narnia: Prince Caspian. In addition to their global takings, these three movies alone contributed in excess of £100 million to the UK economy, highlighting the central role of film in the creative industries’ contribution to the country’s balance sheet. This level of inward investment underlines the UK film industry’s capacity to bring world-class movie-making to Britain and reinforces the UK’s ability to operate at the highest level on the global stage. This commercial success has come at a time when British movie continues to enjoy critical acclaim. Three British features are featured in competition at Cannes, including the UK Film Councilfunded Bright Star and Fish Tank.
Products... Check Them Out! The domain of cinema entertainment is as fascinating as the movies it churns out. Exciting, often amusing, if not crazy! With technology impacting the space faster than even one’s imagination, there is a new concept, if not a product straight away, coming to the market on a regular basis, to take the user communities by wonderment! Theatre World continues its effort to present some exciting products that have either hit the market recently or going to hit soon.
World’s First Mobile 3D Projector from RealD After dazzling tens of millions of moviegoers worldwide with attentiongrabbing 3D, leading global 3D technology company RealD introduced the RealD LP (Linear Polarizing Z Screen) to bring the power of 3D to the small screen. The world’s first mobile, single-projector, passive 3D solution, the RealD LP brings the vibrancy of highquality 3D to smaller venues such as conference rooms, R&D centers, museum exhibits, mobile education centers, virtual rides and other entertainment attractions. Designed to be set up for individual 3D presentations in minutes, or permanently mounted for long term use, the RealD LP allows the flexibility of switching between 2D and 3D on the fly while alleviating maintenance and other issues of dual-projector 3D systems. ”3D content is more engaging, memorable and productive,” said Joshua Greer, president of RealD. “The RealD LP creates stunning 3D images for small or medium
size audiences anytime, anywhere, bringing new possibilities to using the power of 3D in presentations, product development and virtual attractions.” The RealD LP is an externally mounted peripheral for a single 3D-enabled DLP® projector, with electronic controls conveniently integrated inside the device. When 3D content is fed to the projector in fullresolution, frame-sequential format, the RealD LP allows content to be seen in 3D by polarizing right- and left-eye images. Viewers wear comfortable, affordable and reusable RealD eyewear custom built for the LP. Suitable for screens up to 17 feet wide, the RealD LP works with 3D-enabled projectors such as NEC NC800, Christie Mirage HD, and Lightspeed Design HD DepthQ, along with a silver screen from Harkness, MDI or Stewart. The RealD LP is available for lease through the company’s Professional division.
NEC’s New Digital Projector for 3D Cinema NEC unveiled its new NC2500S digital cinema projector, specifically aimed at beaming 3D movies. As Hollywood studios begin requiring a higher level of brightness for 3D movie releases, NEC is the only provider to offer all pre-existing customers this new feature in their current models with a simple upgrade. The worldrenowned Ziegfeld Theatre took the honour to be among the first of NEC’s customers to embrace these new projectors. The NEC NC2500S-A’s new technical enhancement allows 3D content to utilize the full 2K resolution of the 1.2-inch DMD from Texas Instruments using triple flash technology for smooth motion. With an increase in resolution and brightness of up to 33 percent, compared to previous generations, the boost in performance means a greater viewing experience for moviegoers. TW-16
The new system debuted at the grand theatre with Disney’s latest animation flick Up. “We are pleased that Clearview’s legendary Ziegfeld Theatre is one of the first theatres to install NEC’s new digital cinema projectors,” Clearview Cinemas senior vice-president and general manager Doug Oines said. “Clearview is committed to providing moviegoers with the best viewing experience, and the stunning image quality produced by NEC’s projectors is another way for us to do just that.” The exhibitors can now display content on larger screens to bigger audiences than ever before. Current NEC DLP cinema projector customers will be able to make this upgrade easily and in the field. NEC is offering this service to customers through both NEC factory engineers or through factory training provided to the exhibitor and
independent service engineers, allowing for a flexible transition to the new NEC NC2500S-A projector. All digital cinema 3D technologies will benefit from this upgrade. â€?NEC continues to push the limits of its digital cinema technology with the continued promise to provide theater owners and their patrons with the very best on-screen
image. Placing the first production models in one of the most prestigious screening theatres in the country was a given for us, and we are so pleased with the reaction from their senior executives and are excited to bring theater goers an even better viewing experience,â€? said NEC Corporation of America general manager, digital cinema division Jim Reisteter.
GDC's New SA-2100 Digital Cinema Server GDC Technology (GDC), a leading digital cinema solutions provider, and RealD, the global leader in 3D cinema technology, have jointly brought to market an integrated digital cinema server the SA 2100 with RealD's 3D EQ (aka 'ghostbuster') technology. RealD's 3D EQ technology augments the separation of the left and right eye images, providing the best 3D visual experience. In the past, this unique process was incorporated into the master print by the studios. GDC's new server now incorporates 3D EQ technology into the digital cinema server and therefore abridges the distribution process without sacrificing the optimal 3D visual experience. GDC licensed RealD's 3D EQ in January 2009 and completed the integration of RealD's proprietary 3D EQ technology into the SA-2100 digital cinema server in less than three months. GDC's servers were also
validated by RealD's laboratory ensuring a single 3D DCP format can be used without making a different DCP for RealD's 3D-equipped cinemas for optimal 3D visual experience. GDC has decided that all existing GDC SA-2100 line of servers will get RealD's 3D EQ feature in the next software upgrade, and servers shipped from May 2009 will have this feature built-in. It is expected that GDC's server with 3D EQ will significantly save the movie distributors millions of dollars by adopting DCI requirement of a single 3D DCP format for digital cinema distribution. "Our goal is to make 3D content distribution and display as simple and cost effective as possible, with incorporating our 3D EQ technology into GDC's digital cinema servers a significant step in this process" stated Joshua Greer, president of RealD.
New, Pro-Ribbon Sound from Alcons Audio Alcons Audio, the Dutch major, focused on manufacturing of professional sound systems for cinema and touring industry, is introducing its latest, ‘digital cinema ready’ pro-ribbon loaded sound systems. The new product will be on demo at the CinemaExpo 2009, scheduled to be held at the RAI-Amsterdam, Netherlands from 22-25 June. The C-series of Alcons cinema sound systems bring moviegoers everything (and more!) today’s digital cinema sound has to offer, as Alcons cinema sound solutions are developed from ground-up to enhance the Digital Cinema experience. New developments have been implemented in the Cseries; dedicated speaker drive, for maximum quality output and utmost speaker operation reliability; Complete cable and connector length compensation, for improved low and mid accuracy; ultra-shallow cabinet design, for improved space-efficiency; new pro-ribbon transducer technology for a non-compressed 1:1 reproduction of the movie soundtrack, plus an unusual high peak power handling catering for a 1:15 dynamic range.
Latest development is the implementation of Alcons’ recognized line-source technology into cinema sound system design (an industries’ first), enhances the cinema experience even further. The acoustical coupling from this array technology reduces the typical SPL dropoff from front to rear (up to 12dB in medium-sized rooms) significantly; the resulting ‘proximity’ effect dramatically enhances the cinema experience for the audience further away. The complete C-series cinema products will be on show, including the CR1 ultrashallow front system (17cm deep), the CRMS system, Alcons’ Cinema Ribbon Monitoring System, for post-production studios and high-end screening rooms and the CR5, as recently installed in Bergen Kino, Norway. Recent Alcons cinema ambassadors include Fraunhofer Institute Germany, Apollo cinemas Italy, Pathé cinemas The Netherlands, Norwegian Film Institute Norway, BAFTA London, and ZOO film studios Chile. www.alconsaudio.com
Doremi Introduces New DCP Server Digital cinema solutions provider Doremi Cinema has recently introduced its newest server, the DCP-2K4. The new server is actually modification of the DCP-2000, which was the first commercially available server capable of playing JPEG2000 digital movies conforming to DCI specifications. They both provide superior reliability, image quality and an unmatched feature set. The DCP-2K4’s 4U configuration includes DVD-ROM and removable SATA ingest inputs that give exhibitors additional flexibility on how they receive and ingest content at the screen level. Like the DCP-2000, the DCP-2K4 plays JPEG2000 and MPEG2 MXF files. It also supports all of the latest 3D technologies including REAL D, XpanD, Sensio 3D, Dolby 3D, and dual-projectors 3D playback. External control of captioning devices, and 4K resolution playback are also available with the new DCP-2K4. Each server includes the CineLister software utility that provides effortless scheduling and playlist administration. Playlists can include
both JPEG2000 and MPEG2 movie files, and pre-show content files. Doremi installs over 7000 units: Doremi announced that its line of DCP servers are by far the most installed digital cinema servers in the world today, with over 7000 installs worldwide, and counting. www.doremilabs.com
QSC Launches New Digital Cinema Processor QSC’s Digital Cinema Processor, the DCP 300, builds on the legacy of DCM and Basis to provide all signal processing and monitoring functions for Digital Cinema in a single integrated system. Designed to be used with QSC’s Digital Cinema Amplifiers (DCA) and featuring advanced DSP presets for QSC’s Digital Cinema Speakers (DCS), the DCP 300 optimizes loudspeaker performance while simplifying cinema sound system wiring and configuration. The DCP 300 covers cinema systems ranging from three to five screen channels, and are configurable for bi-amp, tri-amp or quad-amp operation. The DCP 300 is also compatible with all analog cinema processor formats including Dolby Digital Surround-EX and DTS-ES and features a 10 channel analog input for intergration with 35mm audio systems. The feature-rich DCP-300 comes with digital input for up to 16 channels of audio; networked audio I/O via CobraNet; analog inputs for film processors, non-sync and Mic/line; master volume and full 1/3 octave graphic EQ on all channels (except subwoofer); booth monitor with touch
screen control for easy operation; digital loudspeaker crossovers; three or five screen channels - 2, 3 or 4-way crossovers, and more. The unit is compatible with all existing DCA amplifiers, and has a dual power supply capability with load sharing for seamless operation in the event of failure. The DCP 300 digital signal processing capability outperforms traditional analog crossovers and equalizers for optimized speaker performance. Crossover frequency, 1/3 octave graphic EQ, parametric equalization, polarity, delay and gain can be precisely adjusted for each speaker in the system. More, DCPs greatly simplify system wiring and set-up, significantly reducing installation time and labor cost. Input to the DCP is provided via standard DB-25 cables from the D-Cinema server and/or 35mm cinema processor. Connections to DCA amplifiers for input and monitor signals are made through a single QSC DataPort / VGAstyle cable. www.qscaudio.com
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A New Cinematic ‘Space’ Even as cinemas and movie production houses have been, apparently, grappling with issues of what they fondly call recession blues, a new horizon altogether, of cinematic wonderment, had begun to be explored, on a very ‘high’ note! Giant screen entertainer Imax collaborated with the US National Aeronautics Space Administration (NASA) to shoot the spacewalks and the final set of repairs to the Hubble telescope on Imax 3D for its ambitious movie- named after the 19-year-old space observatory, and set for a 2010 release. Should everything go as intended, cinemas worldwide can hope to offer an awesome ‘space’ to their audiences soon. As the NASA space shuttle Atlantis blasted off into the space at 2:01:56 EDT on 11 May 2009, from the Kennedy Space Centre in Florida, it not only added a feather of distinction to the American space exploits, but also for the global cinematic adventures. For, it was not just Commander Scott Altman, pilot Gregory C. Johnson and flight engineer Megan McArthur, and spacewalkers John Grunsfeld, Michael Massimino, Andrew Feustel and Michael Good that the Atlantis carried to space- it also carried the Imax 3D camera systems to Hubble Space Telescope (HST), STS-125 for what was claimed to be one of the most ambitious and adventurous effort by the large format company. And, when the crew landed at the Edwards Air Force Base in California on 24 May, 2009, - after a 13-day space journey that aimed at carrying final set (and shoot) of repairs to HST, the Toronto-based big cinema maker had a really big ‘space’ to talk about. The footages of five intricate spacewalks that its cameras (might) have captured aboard Hubble, will be combined with breathtaking up-close images of distant galaxies in the upcoming Imax-Warner Bros. Pictures co-production Hubble 3D. This highly anticipated next instalment of Imax’s 3D space movie series is set to debut in Imax theatres in Spring 2010. Through the world’s most immersive cinematic experience, Hubble 3D will give audiences a front row seat as the gripping story unfolds. The Imax team has trained the Atlantis crew at the Johnson Space Center on the operation of the cameras, one of which will be mounted outside the cabin in the shuttle’s cargo bay, to capture stunning Imax 3D images of the historic final servicing mission. The Commander and Pilot will double as filmmakers as two teams of spacewalking astronauts-working in tandem with the shuttle’s robot arm-perform some of the most challenging work ever undertaken in space as they replace and refurbish many of the telescope’s delicate precision instruments. Hoping to extend Hubble’s life well into the next decade,
the four spacewalkers, working in two-man teams, made five back-to-back excursions to install six new stabilizing gyroscopes, six new nickel-hydrogen battery packs, the new data computer, and two new instruments, the $126 million Wide Field Camera 3 and the $81 million Cosmic Origins Spectrograph. Like all modern Hubble instruments, both are equipped with corrective optics to counteract the spherical aberration that prevents Hubble’s 94.5-inch mirror from achieving a sharp focus. The astronauts also repaired two other instruments: the Space Telescope Imaging Spectrograph, which suffered a power supply failure in 2004, and the Advanced Camera for Surveys, which broke down in 2007. Neither instrument was designed to be serviced in orbit, but determined engineers devised custom tools and an ingenious plan for the spacewalkers to bypass the failed electronics. The replacement camera and other new instruments will enable Hubble to peer deeper into the universe, to within 500 million to 600 million years of creation. Imax hopes to weave all this imagery into its 3D movie in the best possible thrilling fashion. “It’s been said that The Imax Experience is the next best thing to being in space, and with Imax 3D, the audience really IS there,” said Producer/Director Toni Myers.
The massive Imax 3D cargo bay camera, which holds 5,400ft (over a mile) of film, being prepared for installation on the Orbital Replacement Unit Carrier (ORUC)
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The Hubble Space Telescope (HST) floating against the background of the Earth; (right) The HST hovering at the boundary of the Earth and Space
“Fifteen years ago, we made a film about space exploration that included Hubble, when it started sending back the first images,” he said and added, “Today, we have Hubble’s entire phenomenal legacy of data to explore. With Imax 3D, we can transport people to galaxies that are 13 billion light years away-back to the edge of time. Real star travel is here at last.” According Bob Jacobs, NASA’s acting assistant administrator for Public Affairs, they worked with Imax on past Hubble missions and were excited about working with them again on the latest Hubble mission. The Hubble Space Telescope continues to dazzle the world with the
splendour of the universe and after the STS-125 mission, he said, and vouched that they look forward to many more years of awe-inspiring imagery. “One of the challenges in sharing Hubble’s story is identifying media that can capture the scope and scale of the cosmos,” Bob said, adding, “Imax has developed innovative 3-D image capture and projection technology that creates a large scale immersive educational experience in which those of us on the ground are no longer passive observers of spaceflight. We’re active participants.” For the exultant Imax CEO Richard L. Gelfond, the exploit represented a very special moment in Imax history in which
Astronaut William M Bill Shepherd uses the Imax camera aboard the International Space Station. (Credit: NASA)
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The photo was taken by the Imax Cargo bay camera mounted on a container on the port side of Discovery
A scene from the large format film Destiny In Space, against the backdrop of the Cape of Good Hope
Imax 3D technology has been selected to document one of the most anticipated technological events. “Hubble Space Telescope has benefited all of humanity with a close examination of our universe,” he said, “now, we can transport audiences right there, all through the power of Imax 3D.”
of this incredible telescope, commented Dan Fellman, President-domestic distribution, Warner Bros. Pictures.
Hubble 3D will allow moviegoers to get a front row seat to see these amazing other galaxies, thanks to the power
”Through our partnership with IMAX, we’ve taken audiences to the depths of the ocean and put them in the driver’s seat in NASCAR,” Fellman said. “Hubble 3D will continue this great legacy of taking audiences to places they would otherwise never get to go and will continue to inspire both young and old alike.”
Hubble 3D – The Imax Experience Experience the gripping story-full of hope, crushing disappointment, dazzling ingenuity, bravery, and triumph-in Hubble 3D, the seventh awe- inspiring film from the award-winning Imax Space Team. Vividly captured in Imax 3D, Hubble 3D recounts the amazing journey of the most important scientific instrument since Galileo’s original telescope and the greatest success in space since the Moon Landingthe Hubble Space Telescope. Audiences will accompany the space walking astronauts as they attempt some of the most difficult tasks ever undertaken in NASA’s history, and will experience up close the awesome power of the launches, the heartbreaking setbacks, and the dramatic rescues of this most powerful story. Hubble 3D will also reveal the cosmos as never before, allowing viewers of all ages to explore the grandeur of the nebulae and galaxies, the birth and death of stars, and some of the greatest mysteries of our celestial surroundings, all in amazing Imax 3D. Imax’s longstanding partnership with NASA has enabled millions of people to travel into space through a series of award-winning Imax films that have cumulatively grossed more than $500 million worldwide. The Imax 3D camera made its first voyage into space in 2001 for the production of Space Station 3D, narrated by Tom Cruise, which has grossed more than $100 million worldwide. The Hubble 3D film will mark Warner Bros. Pictures’ first venture into space.
Hubble 3D reunites the Space Station 3D filmmaking team, led by Producer/Director Toni Myers. It has James Neihouse as director of photography, is also the astronaut crew trainer. Judy Carroll is associate producer, and Graeme Ferguson, Co-founder of Imax and pioneer producer of many Imax space films, is executive producer of the movie. Hubble 3D will be released exclusively in IMAX theatres worldwide beginning Spring 2010.
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Europe Takes Another Stride
Now, HD Live in 3D Cinema European cinema is going places. Having already got onto a digital expansion platter, the continent’s cinema is now exploring the benefits of digital cinema through delivery of live 3D content in High Definition for digital cinemas. This, at a time when much of the industry continuously giving out the impression of recession erasing its footprints. A TW snapshot:
The National Association of Broadcasting (NAB) convention this year proved a platform for yet another technology exploit, this time, for cinemas, and for Europe. Making the first day of the week-long convention that got underway on April 20 in Las Vegas as its platform, three enterprises came together to announce the beginning of first operational roll-out of live 3D in High Definition for digital cinemas in Europe. The announcement, incidentally came exactly a day after they were reported to have successfully broadcast a complete basketball game in Europe to multiple locations in Italy.
As part of their digital cinema service offering, OpenSky has formed the 3D Stereoscopic group (3DSG), a partnership with dBW Communication and Eutelsat for the end-to-end production and distribution of 3D live events across Europe. This first event on an operationally deployed network is a major milestone for all participating companies. Participants at the event were impressed with the high quality transmission that showed all of the action in crisp, real-time, high definition 3D. OpenSky is utilizing IDC’s SuperFlex Pro Cinema product line for their digital cinema network rollout. The Pro
The honours for this achievement are taken by International Datacasting Corporation, (IDC), and SENSIO Technologies Inc. the solutions providers, and OpenSky, the satellite-equipped broadcasting facilitator. OpenSky had purchased and installed their first Pro Cinema 3D live Decoders prior to NAB as an add-on to the digital cinema broadcast network previously provided to them by IDC. The SENSIO(R) 3D technology used in the system adds additional revenue generating capability to Opensky’s new satellite broadband DVB-S2 distribution network which had been deployed specifically for live events and alternate content delivery to theatres across Europe equipped with digital cinema projection systems. July-September 2009
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Cinema product line is a family of modular products that can easily be configured to provide a range of end-to-end solutions for the delivery of both file-based movies and live events over a broadband satellite network. The product line features open standards including the latest DVB-S2 broadcast technology with a variety of encryption options and plug and play interoperability with terrestrial Internet Protocol (IP) networks. The Pro Cinema 3D Live Encoder and Decoder, with leading SENSIO(R) 3-D technology onboard supports both 2D and 3D live and pre-recorded events, which provides movie houses and other venues increased new revenue opportunities via alternative content programming. SENSIO’s 3D technology, originally developed for the consumer 3D entertainment market, transforms stereoscopic high-definition video (e.g. from dual HD cameras) into its proprietary format that allows distribution of 3D content over standard infrastructure. The technology features visually loss-less stereoscopic compression and is compatible with all existing and future 3D projection technologies for 2D or 3D viewing. “We are pleased to be working with IDC and SENSIO on this very exciting network expansion. Their leading edge technology and their practical experience with the satellite delivery of digital cinema content and 3D live events means we are able to get to market quickly,” said Walter Munarini, Managing Director of OpenSky Italy. “The system transmission is bandwidth efficient and delivers the rock-solid high performance needed to impresses audiences with a totally immersive 3D experience,” he said. “This was an invitation only event that provided experts and stakeholders with the opportunity to enjoy the game and to prove the outstanding quality of the 3D Live provided by our team. Very soon cinema customers in the OpenSky network will enjoy a commercial event with sport, music and more!” Broadcasting NBA games live in 3D HD format is nothing new today, given the fact that Sony had experimented that almost a year ago when it got the US NBA game between the Dallas Mavericks and the Los Angeles Clippers transmitted live via satellite from the American Airlines Center to Landmark Entertainment Groups’ Magnolia Theatre, where over TW-24
300 fans and invited guests, viewed the event wearing special 3D glasses. FSN Southwest used PACE/Cameron Fusion Sports System to capture the action on the court, utilizing modified Sony HD cameras to deliver a depthof-field perspective to the audience. Each of the four 3D systems used were designed with two cameras that capture the left eye and right eye imagery separately, and create one three-dimension effect. In the theatre, two Sony SRX-R110 4K projectors in a double-stacked configuration projected the 3D content onto an 18 x 42-foot screen at four times the resolution of full high definition. Cinedigm and Sony Pictures got together in February this year to sign up for live HD content in 3D format for as many as 10,000 cinemas across North America. What is significant with the IDC-SENSIO initiative is it the first such operational roll-out for Europe, and promises to open up the European skies for many more such broadcasts. The digital cinema, as it is, appears to be on a roll in the region, as per the current indications. “This milestone marks another step forward for IDC as we continue with our strategy of providing the advanced technology solutions needed for the international digital cinema market,” said dded Ron Clifton, IDC President and CEO. “Our partnership with SENSIO Technologies, along with the licencing of the Dolby technology, we announced a couple of weeks ago and our PROFline sales and support team in Europe were all key to making this happen and position us well for the future,” he added. SENSIO president and CEO Nicholas Routhier is obviously pleased. “We are pleased to see this initial rollout in Europe. Our partnership with IDC with their technology and international distribution experience is paying off by ensuring we get deployed along with the first professional digital cinema distribution networks,” says the SENSIO chief. “With more and more events being produced with our SENSIO(R) 3D technology and the momentum building in response to the excellent high definition quality we are demonstrating with real events to real audiences means we are quickly becoming the de-facto standard in the digital cinema industry and this is bringing great brand recognition to our consumer 3D market activities.”
Christie Shines in Brilliant3D Technology Christie maintains its dominance in the digital cinema landscape through what it calls the industry’s first technological breakthrough for 3D- the Christie Brilliant3D. The new projection system, built on triple flash technology, significantly boosts projector performance and image brightness, delivering the industry’s best single-lens solution for 3D. It utilizes the entire reflective surface of the DMD chip from Texas Instruments, enabling 3D content to be projected in full 2K resolution. The technology is available on the Christie CP2000-SB, Christie CP2000-XB, Christie CP2000-ZX and the compact Christie CP2000-M; a versatile, digital cinema dynamo that is poised to revolutionize theatre booth design. “For theatres, it’s all about the light,” said Gary Engvold, president of Integrity Entertainment Systems, LLC, an authorized digital cinema reseller for Christie. In the past five months, Integrity has been rolling out the full resolution 2K triple flash Christie CP2000-ZX projectors. It recently installed four systems at Bow Tie Cinemas, six at Zurich Theatres, and three at Dipson Theatres.
acceptance ‘South of the Border’ and anticipates the installation of Christie 3D projection systems in Brazil, Chile, Ecuador, Honduras, Panama, Peru and Ecuador.
“Not all equipment is created equal,” added Engvold. “Christie projectors offer superior optics that put much more light on the screen – a key requirement for 3D. The full 2K resolution delivered by Christie Brilliant3D technology means theatres don’t have to reduce the content size for the screen, so audiences see a brighter, clearer picture. But it’s not just about what’s on the screen. Christie also offers a solid support structure behind every one of their projectors.”
“Christie Brilliant3D projectors are our first choice for installation because their cutting edge 1.2” full-chip resolution triple flash technology provides the highest brightness, an important benefit for 3D,” said Guillermo Younger, president of Cinema Equipment and Supplies. “Our clients are very responsive because they know we offer them projection systems that deliver the best picture possible for their screens. We’re proud to be associated with Christie, a true industry leader whose customer service and support are ‘numero uno!’”
Brilliant3D Dazzles South of the Border: With the digital cinema market heating up in Latin America, the Miami, Florida-based digital cinema solutions player Cinema Equipment and Supplies, is taking forward the Christie cause. The company sees 2009 as a watershed year when digital cinema will finally gain widespread
American Cinema Equipment (ACE), an industry leader in high tech cinema products and services, has already installed projectors with Christie Brilliant3D in over 15 theatre complexes throughout the US, including Hawaii and Guam.
Doremi Cinema Service Centre for Canada ProjecTech and Doremi Cinema announced their partnership on the establishment of a Doremi Cinema service centre for Canada. “We are very happy to announce this partnership with ProjecTech.” said Michael Archer, VP of Doremi Digital Cinema. “With the impending major roll out of digital cinema, it allows Doremi to ensure we have the highest service levels possible in Canada, and presents a strategic advantage for our Canadian digital cinema customers,” he said and added, “we have an established relationship with ProjecTech as our Canadian Cinema Dealer, and by implementing a service centre, we will ensure equipment can be locally serviced, supported and supplied.”
ProjecTech is a vibrant and active company that provides a wide range of support services to the exhibition industry. “We are extremely pleased to be recognized as the Canadian Service Centre for Doremi Cinema products” said Kevin DeRijck, executive vice-president of ProjecTech. “As the largest cinema ser ver manufacturer in the world, Doremi Labs has established an excellent reputation for producing the highest quality equipment in the exhibition industry. Our partnership with Doremi allows us to fully service the market.”
Christie Projectors’ 99 pc Reliability Christie announced that its Global Quality department and Network Operations Center have released data confirming 99.999 per cent reliability for Christie lamps in Christie projectors. The statistical information for the reliability data is acquired from the Christie Network Operations Center (NOC) which has monitored more than 10 million showings over the last 24 months. The sample size for the data includes the 3,800 Christie digital projectors deployed during Phase 1 of the Christie/ AIX (now Cinedigm) digital cinema roll-out which began in December 2005. Every digital cinema system in the deployment is remotely monitored 24/7 and evaluated for environmental health, maintenance, reliability and uptime. According to Craig Sholder, vice-president, Entertainment Solutions at Christie, “we are in the unique position to have quantifiable data that confirms that Christie lamps with Christie projectors provide exhibitors with 99.999 per cent proven uptime. Each month our NOC monitors more than 500,000 individual showings, and each month our Quality department analyzes the data from the NOC to ensure that our systems continue to perform flawlessly.” Sholder adds, “we’re very excited to be able to share these results with our customers. In today’s current economic
climate, it is absolutely critical that every exhibitor has every opportunity to generate revenue from every single showing- with Christie lamps in Christie projectors, exhibitors can choose a solution that provides a clear assurance of reliability.” The Christie CP2000-ZX, Christie CP2000-XB, Christie CP2000SB and Christie CP2000-M represent the brightest, highest performing projectors with the lowest operating costs in their class. With the addition of Christie Brilliant3D technology, the Christie CP2000 series of projectors provide bigger, brighter, clearer 3D images in full 2K resolution. Now available with 99.999% proven uptime, the show will go on and on.
Dolby 3D with Large-Screen Capabilities Dolby Laboratories announced that exhibitors will now have the ability to play back content using Dolby 3D Digital Cinema to provide a premium viewing experience in their largest auditoriums. By implementing Dolby 3D for large screens, exhibitors can project Dolby 3D onto screens ranging from 41 to 70 feet. The new Dolby 3D largescreen solution is compatible with all of Barco’s digital cinema twin-projector offerings, including the ultra-bright DP-3000 flagship projectors. “This is a milestone for Dolby 3D projection capabilities, as screen size has to date been limited to accommodate a range of up to 40-42 feet,” stated Page Haun, senior director (Cinema Marketing), Dolby Laboratories. “Dolby realizes that exhibitors need the flexibility to provide 3D in their largest and smallest auditoriums, and with this announcement, Dolby is now able to support exhibitors’ various needs.” “Exhibitors have told us they want 3D without compromise. No excuses, no compromises, simply the right amount of light and a consistently beautiful image for screen sizes reaching all the way up to 70 feet,” said Wim Buyens, vice-president Digital Cinema for Barco’s Media and Entertainment Division. “With Barco’s twin-projector offering and Dolby 3D for large screens, exhibitors can now move 3D audiences into their largest auditoriums to maximize 3D revenues.”
Malco Theatres, the first to test Dolby 3D for large screens, recently used the solution to screen Walt Disney Pictures’ Jonas Brothers: The 3D Concert Experience at its Malco Paradiso multiplex in Memphis, and Malco Grandview in Madison. In addition, Dolby’s unique full-spectrum color-filter technology, enabled by the high-tech passive Dolby 3D Glasses, enhances the motion picture experience. The Dolby 3D system provides realistic color reproduction and extremely sharp images. The environmentally friendly and reusable glasses can be used repeatedly, significantly reducing the cost per viewing for exhibitors.
DTS, Qube in Marketing Alliance DTS Digital Cinema and Qube Cinema have announced a co-branding strategic alliance to develop and market numerous digital cinema products including a digital cinema server, a theatre management system, an enhanced digital cinema mastering solution and other allied products. The alliance will bring together the best of both companies’ strengths to form a strong commercial and technology presence in the digital cinema marketplace. Qube will bring to the relationship, their experience of having developed cutting edge digital cinema products such as the Qube XP-D digital cinema server, QubeMaster Pro encoding suite and the QubeCast media delivery system. Besides providing sales and marketing presence and expertise in many regions around the world, DTS Digital Cinema will lend the partnership experience in developing motion picture technology, such as 5.1 digital surround sound, as well as the content management software knowledge that helped develop their Theatre Management System, Satellite Delivery System and Digital Booking System. Together the two companies will develop numerous digital cinema products, starting with the DTS Digital Cinema DC-20 powered by Qube. The DCI standards-compliant DTS DC-20 digital cinema server, powered by Qube, is multi-format and supports JPEG2000, MPEG-2, Windows Media 9, optionally H.264 and other picture formats, all seamlessly within the same Show, thus making it the ideal choice for integrated feature and pre-show playback. It features a Remote Panel with familiar transport and menu controls for projectionist control and a powerful web-based interface for more advanced functionality over any IP network. An integrated CRU DataPort receiver makes ingest of content fast and
easy while front-panel e-SATA and USB-2 interfaces make interconnections much more convenient. The QubeMaster Pro is a uniquely flexible and powerful Digital Cinema encoding and packaging solution designed to integrate fully into the modern post environment. It is a database-driven, fully software based solution for Windows platform. Highly optimized for today’s high performance CPUs, it is the fastest digital cinema mastering system in the market. QubeMaster Pro has an intuitive and familiar user interface that allows for the one-step pre-processing, encoding, encryption and MXF wrapping of Digital Cinema Packages (DCPs). Qube will integrate DTS Digital Cinema’s proprietary JPEG2000 variable bit rate encoding algorithm into the product to enable users to create vivid DCPs with much smaller file sizes. FIPS 140-2 Level 3 Certification: The Media Block used in Qube XP-D Digital Cinema Server has been certified with the Federal Information Processing Standards (FIPS) 140-2 Level 3 validation. The FIPS 140-2 Level 3 certification is a key requirement of the DCI Specification and is awarded by the National Institute of Standards and Technology (NIST) which established the Cryptographic Module Validation Program (CMVP) that validates cryptographic modules to FIPS. After it underwent rigorous testing by InfoGard Laboratories, an accredited cryptographic module testing laboratory, the test report for the Media Block was submitted to NIST, which recently issued the FIPS 140-2 Level 3 validation certificate. The official FIPS 140-2 certification for the Media Block is a key milestone for Qube Cinema’s Qube XP-D digital cinema server in its path to full DCI Certification and all new Qube XP-D servers now ship with the FIPS certified Media Block.
Sony Unveils New Digital Cinema Sony has brought to industry what it called the new digital cinema system that is compatible with its 4K SXRD digital projection systems. The new technology include a Theater Management System which can provide exhibitors with increased efficiency and automation in their operations, and a new anamorphic lens for higher brightness in 2D projection systems. “Exhibitors moving to digital cinema are looking for all the necessary tools and options to be readily available and easy-to-use, in order to make their digital transition as smooth as possible,” said Gary Johns, vice-president of Sony Electronics’ Digital Cinema Systems Division. “Their goal is to provide the highest-quality presentation for their customers, while simultaneously increasing their efficiency and eliminating operational mistakes.” The new anamorphic lens, model LKRL-A001, will allow
exhibitors to reach 14 foot-lamberts of brightness on screens up to 70 feet wide. Sony will work with studios and the digital cinema industry to gather input so that the new lens meets with necessary technical requirements and standards for digital cinema projection. The new Theater Management System includes a direct interface to the Sony Screen Management System that controls all the 4K projectors in one location. Through one user-friendly graphical interface, operators can: import schedule data directly from their ticketing and/or point-of-sale system; create schedules using a show template; monitor the status of screens, projectors and other equipment; and also transfer schedule data and DCP/KDM automatically. Up to 32 screens can be supported by the SMPTE/DCI compliant Theater Management System and the system is compatible with a range of media formats, including JPEG-Interop, and SMPTE formats. July-September 2009
• SPECIAL FEATURE •
European (Cinema) Revolution! The European Cinema is through a revolution, or so, it seems. For the cinema exhibition industry across the European Union territories and beyond has recorded significant growth in all the areas of the business- cinema building, harnessing new exhibition technologies, led by digital roll out and alternative live HD 3D content broadcast drives, and box office revenues, with the year 2008 bringing in all those changes, giving a new momentum to the cause. In what looks like, quite cinematically, an anti-climax, it couldn’t have asked for a better year, considering the global recession having its own bearing on the business of entertainment. A TW perspective: European Cinema is on a new high. The motion picture exhibition industry in the region had been having a flying time for over a year or so, with impressive stats filling out all the departments of the business. Not only the cinemas’ box office (BO) fortunes have turned good, but their transition towards digital domain received a great momentum, positioning them on a still better platter for the coming times which only more promising with more blockbusters in the making. According to industry survey findings and media reports, the last one-year period – from second half of 2008 to (approx.) the first half of 2009 – has been particularly turn around period for cinema. There appear two main factors for the turnaround of cinemas in Europeblockbuster movies and digital roll out. Consider this: •
The BO revenues from Britain, Germany, Spain and Italy rose as much as 14 per cent in the first quarter of 2009. Norwegian cinemas recorded a growth of almost 10 per cent in the second half of 2008, followed closely by Danish cinemas with over 8 per cent growth. During the same time, French movie houses posted almost 7 per cent higher BO growth, followed by Finland with 4.4 per cent, Switzerland with 3.7 per cent, Germany with 2.25 per cent, Netherlands with 1.7 per cent and UK with 1.1 per cent
Movies like Quantum of Solace, Mamma Mia! The Movie and The Dark Knight, Atonement, The Other Boleyn Girl, and The Chronicles of Narnia: Prince Caspian have returned huge BO collections. All these movies from the UK, raked in a whopping $4 billion worldwide, and a major chunk from Europe.
There has been a renewed enthusiasm among the exhibitors, and the facilitators towards the digital transition which saw a whopping 70 per cent growth in digital roll outs. As per the finding of research firm Media Salles, the number of digital cinema sites in Europe stood at 1529 by the turn of 2008, up from 897 in 2007 year end (See table 1.1: The Digital Growth in Europe). It’s the best growth figure after the phenomenal rise during 2004-05.
The European Audiovisual Observatory estimates that between 4 and 5 per cent of all European screens had been converted to digital by the end of 2008. The number of theatres
equipped with at least one digital screen grew to 815 sites, up 48 per cent from 2007. •
Italy and Spain – despite posting negative growth – have intriguingly broken new grounds in technology, for HD live content broadcast to cinemas in 3D
While the British capital is preparing ground for a ‘freeto-air’ programme on harnessing digital exhibition technologies, the entire continent is rearing to go for a European Cinema Summit on digital, besides, other issues.
A case in a point may be Italy where Journey to the Centre of the Earth was reported to have opened on just 42 3D screens in January while the number more than doubled to 102 by the time Monsters and Aliens was released in April 2009. While the arrival of money churning blockbusters was one of the most welcome turnarounds in the European exhibition business, the investment packages and digitisation deals, signed by the facilitating agencies is said to have been playing a major role in reshaping the region’s cinematic landscape. Apparently given momentum by the London-based Arts Alliance Media (AAM) to what was a slow and somewhat unorganised process, the European digital cinema actually took off with French cinema chain Circuit George Raymond (CGR) Cinémas deciding last year to digitise all of its 400-plus screens across the country. The British facilitating agency, supported by three major Hollywood studios, had envisaged to set up a network of as many as 7,000 digital screens across Europe, with the proven virtual print fee (VPF) model. (Read Digital ‘Alliance’ in Europe, Theatre World, March 2008). While the initiative resulted in more than quadrupling digital roll out in France with its cinema digitisation numbers jumping from around 60 screens to over 250, it also paved way for other players to take bigger strides. Belgian digital server manufacturer-solutions provider XDC signed agreement with Austrian cinema chain Cineplex. Building on the initiatives through the year, the company announced last March that it completed a network of 500 digital screens across 10 countries in Europe.
Table 1.1: Digital Growth in Europe
• SPECIAL FEATURE • UK, which had a digital screen count of over 250 last year – thanks largely to the AAM initiatives – leads the European charts with a little over 300 screens. Accounting for a major share in the digital transition is the British cinema circuit CineWorld which reportedly spent around 4 million pounds towards doubling its digital presence- to touch a total of 148 screens. However, there has been a sudden slump in the pace with the year 2008 adding just 20 screens more, owing to the end of agreed funding, and with a view to continuing the momentum, the CEA as recently invited the British exhibitors for availing of a new funding programme. As if taking a cue from the encouragement, British retailer HMV – which had recently set up a joint venture with London-based art house movie specialist Curzon Artificial Eye – is planning to convert an empty floor in one of HMV’s London stores into a digital cinema. Curzon Cinema – as the new theatre is named – will have two digital screens and 200 seats. Elsewhere, Polish Filmmakers Association had announced plans to fund deployment of as many as 300 digital systems in smaller cinemas, as a result of which the country’s digital count took a seven-fold rise from just eight in 2007. Though it’s been a tough journey in Germany, the digital screen count is still the third largest base in Europe with a total of over 160 screens. Going by the size of the geography vis-à-vis the digital contours, Belgium and Luxemburg take the honours of highest density of digital cinemas with 98 and 21 installs, respectively by the end of 2008. (See the table 1.2: Digital Europe) As per the latest indications from the findings of various research firms, digital transition is gaining momentum in
almost all the European countries, including the Russian Federation which has almost tripled its digital count in the last one year’s time.
A ‘UNIC’ Initiative The enthusiasm of digital cinema, as the format began gaining worldwide momentum, has resulted in the birth of what came to be called International Union of Cinemas. Branded as UNIC, the cinema body represents the national federations of theatre owners from 17 countries across Europe and beyond: Germany, Austria, Belgium, Denmark, Spain, Finland, France, Italy, United Kingdom, Norway, Holland, Switzerland, Israel, Luxembourg, Hungary, Greece, Irland, besides the large, continental circuits Europalaces, Kinepolis, UGC and Utopolis Group. Most of UNIC members stand for the majority of the screens in their respective countries, from the independent and the so-called Art & Essai theatres to the major groups. Overall, the UNIC represents as many as 28,000 screens with over 900 million movie seats. Having won the support from the MPAA, and the North American National Association of Theatre Owners (NATO) for its initiatives, the UNIC is now organising a European Cinema Summit (ECS) with a primary objective of promoting digital cinema, besides addressing issues like movie piracy, management etc. The ECS will be a three-day event, scheduled to be held from June 15-18 at the Kinepolis in Brussels, the Belgian capital location of the Kinepolis cinema group. (Read separate news in Global Talk:…..) Interestingly, most of these digital installs had been ebullient about the ‘three-dimensional’ revenues of movies including the 3D movies themselves, alternative content and merchandise. The grand over-a-century-old theatre-turned cinema Empire in Leicester, UK, recently installed Dolby 3D digital system for its grandest of the auditoria. (Read separate story on Empire Cinema:…???) Spanish cinema major Yelmo Cines – which has a presence of 370 screens and counting – has recently collaborated with Xpand, one of the leading providers of 3D movie platform, and Spanish cinema installer Suminstros Kelonik, to set up a chain of 3D digital theatres across the circuit. While six of the intended 29 Xpand 3D digital systems have already been installed, the rest are to be completed by the end of the year. That Yelmo Cines turns out as many as around 12 million patron visits annually, the initiative promises to have significant bearing on the country’s digital cinemascape that had been hitherto considered impregnable, due to perceived diehard attitude of the exhibitors.
Table 1.2 : Digital cinema sites and screens in Europe by 2008
With 2008 churning out money-spinning 3D digital movies, and 2009 promising to churn out more of the stuff in the likes of Star Trek, Angels & Demons, Terminator 4, Harry Potter 6 and Quentin Tarantino’s battle-weary Inglourious Basterds, European Cinema is on a digital song. July-September 2009
• SPECIAL FEATURE •
Hollywood Scripting Green Story
The global phenomenon of helping to make Planet Earth greener has caught the imagination, if not the awareness, of the most ambitious and fascinating story scripter (on earth) Hollywood. The global movie capital has for sometime been abuzz with one script after other on combating carbon footprint and making the environment sustainable. The latest in the commitment to (re)build greener earth is a diversion of 40.2 million pounds, or 63 percent of Hollywood’s studio sets and other solid waste from landfills into their ongoing green initiatives. Here is the ‘green’ story. During the early ‘90s when the Hollywood movers and shakers got together to discuss and evolve plans for resource conservation by reducing solid wastes and thereby contribute towards greener and sustainable environment, it was but a small beginning with big ambition. The Solid Waste Task Force – emerged thus, as a joint initiative between the Motion Picture Association of America (MPAA) and the Alliance of Motion Picture & Television Producers (AMPTP) – has apparently turned around the world’s movie capital for a different offering altogether. One, latest revelation is that the major studios in Hollywood have collectively diverted as much as 40.2 million pounds – or 63 per cent of – their studio sets and other solid waste from landfills last year into their ongoing green initiatives. This meant that they prevented the emission of 33,797 tonnes of greenhouse gases- which is equivalent to removing 7,315 cars from the r oads annually. More, augmenting their commitment to reusing and recycling, the studios are
have also been generating nearly two million kilowatthours of clean energy through solar arrays-which is enough electricity to power 233 households a year in California. More solar projects are said to be on their way this year, which means more, cleaner energy avenues. “The major film studios have much to celebrate this Earth Day,” said Dan Glickman, Chairman and CEO of the MPAA, indicating the enthusiasm in Hollywood about the “Green Generation,” the theme of 2009 Earth Day, celebrated on April 22. “Our member companies continue to make environmental responsibility a top priority,” he said, adding, “their eco-friendly initiatives provide a positive example of sustainability and responsible business practices.” All the major studies have initiated different programmes, independently and cumulatively towards contributing to sustainable environment. Consider these initiatives:
• SPECIAL FEATURE • Disney Making big ‘green’ script, Walt Disney Studios launched a new label – Disneynature – its first new label in more than 60 years aimed at entertaining and informing moviegoers about the wonders of the earth as also encouraging them to learn more about what they can do to conserve nature. The studio, which released its first film under the label – Earth – on exactly the Earth Day said it will plant a tree in the Brazilian Atlantic Forest for every ticket purchased during the five days of opening weekend. Buoyed by the success of the movie, the studio – even as it announced its next movie under the ‘nature’ label, Oceans, – said it would plant another 2.7 million, as part of its ‘Plant a Billion’ programme. Walt Disney Motion Pictures Production has also created a new position – environmental steward – to coordinate and implement best environmental practices throughout all departments on a live-action shoot. This follows the adoption two years ago by Disney of an ‘Environmental Production Resource Guide,’ which outlines green standards and tips for all physical production departments. The Walt Disney Studios Home Entertainment is already leading efforts to establish industry-wide packaging standards. All of their DVD and Blu-Ray packages are now 100 percent recyclable.
Fox Fox Entertainment Group launched the FOXGreenGuide or www.foxgreenguide.com, a web-based tool designed to enable producers and crew members to efficiently find environmentally conscious guidance as well as information on vendors who provide low carbon and eco-friendly products and services. FOX Film Entertainment purchased four 5-ton hybrid trucks for use on productions, which are estimated to reduce emissions by as much as 60 percent in comparison to standard diesel 5-ton trucks. ‘X-MEN Origins: Wolverine,’ set a strong example for environmentally friendly film production, diverting 94 percent of its waste from landfills by implementing recycling programmes in production offices and on set. During the making of the film, recycling information was included on daily call sheets, food waste was diverted to a local farm, water dispensers were used instead of water bottles and construction materials were reused.
Fox’s Emmy award-winning series ‘24’ became the first television production ever to achieve carbon neutrality. Through aggressive and innovative changes in its production practices, the show reduced the carbon emissions associated with its production by 43 per cent.
NBC Universal Having committed to two green weeks a year as part of its o n g o i n g environmental initiative Green is Universal, NBC Universal launched its second annual Earth Week on April 19 with over 150 hours of greenthemed content across all NBC Universal platforms and green volunteer events in over 10 cities. The company also continues to green its operations with ‘Nightly News with Brian Williams,’ ‘Saturday Night Live’ and ‘Late Night with Jimmy Fallon,’- all adopting greener production practices. In addition, NBCU produced a Green Production Playbook - a 70 page step-by-step manual - which will be distributed to all their productions to instruct them on how to implement green practices on set. Universal Pictures is in the process of greening its untitled Nancy Meyers Project film currently in production with Meryl Steep and Alec Baldwin. The film will utilize soybased fuel grown in upstate New York, helping to reduce the carbon cost of fuel transportation. The production will also donate food and set materials to charitable organizations. Understandably, Universal City Studios was rewarded with 2008 Smart Business Recycling Award’ by Los Angeles County for its outstanding waste reduction efforts.
Paramount Paramount recently established a ‘Green Room,’ where productions can donate and take unused office supplies, reducing waste and cost. In lieu of paperwork for production requirements, digital distribution systems are being implemented to save paper, DVDs, packaging materials and shipping. Paramount Home Entertainment’s displays, paper packaging and corrugate use was reduced in the last two years, reducing an estimated 12 million pounds of greenhouse gas emissions, 24 million gallons of waste water and 60 billion Btu of electricity. For comparison, they are equivalent to removing 1,112 cars from the roads for an entire year; the amount of water needed to fill 36 Olympic-sized swimming pools; and the energy used in 668 homes per year, respectively. The studio will also be installing its first phase of a lotwide chilled water plant, providing a high efficiency central air conditioning system.
• SPECIAL FEATURE •
Sony Pictures Sony Pictures began using an ultra-light DVD case that uses about 20 percent less plastic than standard weight DVD cases. This will result in an estimated two million pound reduction in carbon emissions annually. The studio is reducing resources required in film production by increasing digital movie-making and increasing the digital distribution of films, which reduces the need for transportation and disposal of mass quantities of film stock. Set reuse was also up in 2008, with over 5,000 set pieces rented out through the studio’s online warehouse available to the industry. Sony Pictures is constructing a new office building at its Culver City headquarters as per the LEED guidelines. Other the environmental initiatives of the project include recycling of over 95 percent of construction waste; 100 percent nontoxic carpeting, paint, sealants, adhesives and wall coverings; use of local and regional building materials for reducing pollution caused by transportation; low-flow washrooms; motion detector lights and low energy light bulbs. More, an onsite filtration system will clean storm water runoff. The use of solar panels on the studio’s main lot, has already cut annual CO2 emissions by over 180 tons in 2008.
Warner Bros. Warner Bros. constructed a new, ‘green’ sound stage for film and television production as per the LEED guidelines. Completed in early 2009, the Stage 23 – the 35th sound stage at Warner Bros.’ Burbank facility – incorporates sustainable elements such as energy efficient lighting, Ice Bear cooling technology that uses off-peak electricity for daytime cooling and local and environmentally preferable TW-32
construction materials, including Forest Stewardship Council-certified lumber, recycled steel and metals, nontoxic paint and adhesives and concrete foundations with 35 percent recycled fly ash. The stage is surrounded by a perimeter of pervious asphalt, which allows rain water to percolate into the ground instead of running off into the Los Angeles River. In addition, the 80year-old WB original building had been carefully deconstructed so that as much as 92 percent of its materials were reused or recycled. Warner Bros. has also expanded its solar electrical system, which will now generate over 500 kilowatts of clean energy. Located on the roof of the studio’s Burbank-based Mill Building – which was built in the 1930s and is home to various crafts shops –the photovoltaic system comprises over 2,700 solar panels and covers nearly two acres of the building’s roof. The studio’s original 72-kilowatt solar installation was completed in 2006. Warner Home Video also has begun using new, lightweight DVD cases for its new single- and two-disc standarddefinition DVD releases. These new cases are 20 percent lighter than standard DVD packaging, resulting in 31 per cent reduction of carbon footprint for the division. This change will impact WB’s all DVD theatrical new releases as well as all catalog and franchise titles commencing with June 2009 street dates. With many more ‘eco-logics’ being planned by these studios, and other associated bodies, the Hollywood appears to soon turning out into a cinematic model of greener and sustainable world. It may be now for the cinemas to take the cue create Green Cinemas. It appears even this is being seriously explored by the cinema chains and builders, primarily in the USA. Let the global cinema exhibition get into the mould and turn green too.
• CINEMA SYSTEMS • Projection Series-XXV
Audio Visual Projection Quite often, cinema does not mean just the celluloid entertainment, it is also about video of non feature-film content, and sometimes even slide shows. This is practiced in most cinemas, particularly for local advertising or announcements of public interest by the local administrations or agencies involved in such activities. As part of the continuing series on sound and projection, Theatre World, this time, in the concluding part of Unit-VI, presents the modes and methods involved in audio-visual projection done before, during the intermission, and / or after the movie show.
Apart from showing films, projectionists may also have to present the show using other media, such as video or slides. The growing practice of projecting video would be explained as we proceed further with new technologies coming to place, but the use of 35mm slides is mentioned here because it has been a common practice since the early days of the cinema. Though there exist many slide formats, the most common
sides are glass mounted for perfect focus and loaded upside down in “carousels”
these days is the 35mm frame, which is normally mounted between two pieces of thin glass, in a metal or plastic mounting. Cinemas often use slide sequences, either as traditional elements in the picture show, for local advertising, or just to prevent a blank screen, in the case of auditoria being without curtains. A variety of projectors may be found, depending on the age and equipment preferences of the cinema. Perhaps the most common type is the Carousel, in which slides are mounted in a circular tray which sits on top of the projector. In this system, invented by Kodak, each slide drops down into the projection position, when the revolving tray is in the appropriate position. The tray is electrically operated, and may be controlled either at the projector, or remotely, or by pulses fed from a sound tape. The most modern types are also capable of being controlled either at the projector, or remotely, or by pulses fed from a sound tape. These are also capable of being controlled by a computer, and used along with others in multi-image shows. The projectionist may also come across various Kodak carousel look-alikes, which although similar in principle, may not respond to control equipment designed for Kodak
• CINEMA SYSTEMS • of blank screen involved with single projector slide changes. These units work by electronically controlling the brightness of each projector lamp with a device called a triac. Modern dissolve units are microprocessor-controlled, and offer a wide range of transition effects. The unit is usually connected to each projector by a cable and a multi-pin socket.
two common types of slide projector found in cinemas
projectors. It is always advisable to figure out the original ones built by Kodak for ease of use as also for best results. A wide range of lenses is available for slide projectors, but in fixed cinema installations, the projectionist will need to change a lens only when it is damaged or worn out. Similarly, in theory, the projectionist should not have to adjust the focus, since the installation is fixed, and all slides should be professionally mounted. In practice, the projectionist may have to occasionally tweak focus, if a slide had not been properly mounted. Some projectors have an autofocus function which means that the projectionist should never touch the focus by himself. A variety of projection lamps will also be available for throwing light, and in fixed installations it is common for each projector to carry two lamps, with an automatic changeover device which gets activated in the event of the current lamp's failure. The most common maintenance task is to replace lamps. In 240 volt projectors, lamps are normally 24 volt or 82 volt rated. It is a good idea with twin-lamp projectors to ensure that the spare lamp is in the NO.1 position, and the projection lamp in the no.2 position, to minimize the chances of the spare lamp failing as well as the projection lamp. The type and power of the lamp will depend on the make and model of projector, and also the distance of the installation from the screen. Each time a lamp is replaced, it should be reported so that stocks of spares may be ordered as necessary, as part of regular maintenance operations.
halogen lamp & condenser
In addition to the projectors, cinemas may also be equipped with dissolve units, which allow slides to be alternated between two or more projectors, without the brief period TW-34
Some cinemas may also offer the ability to synchronise slide changing with a sound source, such as a standard sound cassette. In this case, analogue audio frequency pluses are prerecorded (using special audiovisual type recorders) on one track of the cassette, which trigger the slide changes automatically. Simple systems use only one frequency of pulse, to trigger just the change, but more advanced systems use varying frequency tones to control lamp brightness for use with dissolve units. Even more advanced systems use digital signals fed from a computer. Sometimes the dissolve unit, the cassette player, and the amplifier are combined in one box - called a presentation unit - but such devices are not often found in fixed installations. In practice, the cinema projectionists' jobs will be mostly confined to: •
Loading slides into carousels
Loading sound cassettes in automated systems
Remotely changing slides in non-automated systems
Operating automated systems
Cleaning slides and projects
Remember that slides are mounted upside down, and that they must go in the right way round, as indicated by the mounting.
When using tow or more projectors care must be taken to load each carousel in the correct order to give the required sequence when the projectors are alternated.
Watch out for slides which are in 'portrait' format.
Slides can suffer from condensation if stored at temperatures lower than warm up naturally.
Standard projectors provide light outputs between 700 and 2000 lumens, which limits the available image size and the life of the lamps.
Xenon arc projectors provide light outputs up to 5000 lumens, and are suitable for images up to 10m wide. Do not use glass mounted slides in these projectors, as the 'greenhouse effect' can damage them.
In all cases, the projectionist must read and follow the maker's instructions, and those supplied by the slide show producer, if any. As with all media shows, it is wise to rehearse before the show arrives. (To be Con’td)
CINEMA EXPO 2009 22-25 June
The 2009 edition of Cinema Expo, the largest convention of the European motion picture industry, will be held in Amsterdam, RAI, in the Netherlands from 22 to 25 June. Into its 18th year in the running, the event, this time, assumes significance on two counts. One- it's being held at the most critical juncture of the industry, both in Europe as well as the world at large, and two- at a time when digital stakes have been flying high across the continent. The programming of the four-day event is expectedly packed with subjects that seek to address the industry's most concerning issues: riding over the recession and 3D digital transformation, alternative content, besides challenges of global piracy. The special attraction of the convention this year will be what is termed as CinemaExpo's First Interactive Challenge- the first session of the event, to be held on the morning of 22 June. Created and hosted by Cineworld, the session will comprise two Floor Plan
groups led by Crispin Lilly, VP-Business Services, and Matt Eyre,VP-Operations at Cineworld. The two groups will vie head to head for the title of 'CinemaExpo Interactive Champs 2009.' The first 100 delegates who arrive at the Forum Room - the venue of the session - will have the opportunity to compete. The day's sessions will also be marked by a postlunch, two-part Special Digital Cinema Seminar. Part One will have a seminar on 3D-Driving Digital Deployment-A Summary of Progress and Challenges in Europe,' to be presented by Dave Monk, CEO of European Digital Cinema Forum (EDCF), and Part Two will be a focussed session on 'Getting into Digital: Defying the Recession & Denying the Doomsayers.' The product reels from the studios are predominantly in 3D digital, besides Imax. Dolby, RealD, Xpand, and masterImage are giving exclusive presentations on 3D digital, with Dolby going a step further to explain its direct-to-theatre delivery model. This year's screenings will include Michael Bay Film Transformers: Revenge of the Fallen, to be shown in Imax system, Summit Entertainment's Bandslam, Sony Pictures Releasing International's The Ugly Truth, 20th Century Fox International's Ice Age: Dawn of the Dinosaurs, to be shown in Dolby 3D, Warner Bros. Pictures' Orphan, Disney Studios' UP, to be shown in Disney Digital 3D. Awards: Rupert Gavin, CEO of Europe's largest cinema exhibition company Odeon & UCI Cinemas Group is chosen as CinemaExpo 2009's International Exhibitor of the Year. The award will be presented at the glittering Awards Ceremony
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
programme on the evening of 24 June. The International Distributor of the Year Award will be presented to Daniel Frigo, EVP & General Manager, EMEA at the Walt Disney Studios Motion Pictures International, and the Cinema Expo Award of Appreciation will be conferred on Chas Evans, SVP, International Creative Affairs, Paramount Pictures International while the the International Director of the Year award will be given to Pierre Morel who directed the movie Taken. The most important event for the European cinema theatre industry, Cinema Expo generally attracts over 1,250 industry leaders and professionals every year. The exhibition programming helps the exhibitors to • Make new contacts • Educate industry influencers • Debut new products and/or Services
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
MARCH 15-18 SHOWEST, LAS VEGAS, USA www.showest.com
• Locate dealers, distributors and end users
Exhibitors List Advanced Specialty Lighting 212 Alcons Audio 136 BKSTS 109 Barco SUITE F Ben & Jerry's Homemade 131 c-cinema-components & media 188 C. Cretors & Co 149 Caddy Products 190 Caloi Industria 214 Camatic Seating Australia 217 Camstage 209 CHRISTIE Suite A Cine Project Gmbh 246 Cinemeccanica SPA 223 Compeso Gmbh 199 Destiny Seating 339 Destro Spa 133 Deutsche Theaterbau Gmbh 105 Dolby Laboratories 161 Doremi Technologies 229 DTS Europe 141 Eomac Uk Limited 218 Ernemann Cinetec Gmbh 247 Ezcaray Internacional 221 Film Ton Technik 57 FTT Digital Cinema GmbH Suite B FTT Filmtronics B.V. 156 Gold Medal Products 181 Golden Link 225 Guangzhou Lijiang 255 Harkness Screens 205 Huizenga Nederland BV 144 IMAX Corporation 336 Irem Spa 334 Irwin Seating Europe, Sl 207
Jack Roe Jos. Schneider K.C.S. Kinekspert Kinoton Martek Contracts NEC Display Nissin Optical Osram GmbH PCO Group GmbH Philips Specialty Lighting PPHU EKRAN Proyecson QSC Audio Products Qube Cinema Quick Sensor Quinette Gallay Ricos Products Seating Concepts Seda Group Skeie Seating Sony Europe Strong International SUBWAY Sundlings Handels AB TETENAL AG TF Creation
164 151 159 154 307 215 Suite E 189 171 239 210 362 324 242 179 183 100 143 312 227 360 327 231 213 148 204 108
TW – TheatreWorld Ultra Stereo Labs 244 Ushio Europe B.V 191 VCL Sound Experience 301 Vista Entertainment Solutions 184 Western Cinema 155 XDC 193/194 XpanD 257
The 35th edition ShoWest - the most coveted platform of global motion picture industry - was held from March 30-Arpil 2 at Paris and Bally's in Las Vegas. The industry's biggest event, being "celebrated" in arguably one of the most difficult times, sought to address the industry with what it called 'truly global' approach. As a first measure in the direction, ShoWest 2009 unlike the preceding editions - did not have a separate International Day. It was rather an event that sought to encompass the entire worldwide industry with a programming that geared toward anyone involved in the business of cinema exhibition. With the industry apparently transitioning towards total digital, and three-dimensional digital, with alternative content regimes, issues such as digital cinema, 3D, and 3D digital have expectedly grabbed centrestage of debates and deliberations during the four-day convention. There have been as many as four 3D digital models on demo Bobby of TheatreWorld at the RealD, Dolby 3D, masterImage USA, entrance of ShoWest and XpanD - the last being showing up itself for the first time at the event. Though the programming of the event tried to touch upon several issues concerning the industry, the most prominent was the one on the theme of the event: 'ShoWest Goes Global.' A special programme titled around the theme - 'How To Stay Ahead of the Curve, as the Industry Confronts the Future,' - marked the beginning of
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 also changed in tune with the times to embrace the new era of unified global industry. Given the pressures of recession, and challenges that have been commonly impacting the industry across the world, 2009 TheatreWorld @ ShoWest was considered "to be an Publication Bin appropriate time and platform to gather, regroup, talk about success over the past one year, and explore what the industry could do to keep itself rolling."
the event. Jim Gianopulos, chairman and CEO of Fox Filmed Entertainment, who was the special guest for the inaugural programme, broached several issues making up the 'Globalisation of Motion Picture Industry,' as part of his keynote address at the Opening Day Lunch. National Association of Theater Owners (NATO) chief John Fithian, and Motion Picture Association of America (MPAA) chairman Dan Glickmann expounded how the industry could handle the critical times. The event was attended by an estimated number of over 3000 visitors from across various segments of the industry while the tradeshow had almost all the regular exhibitors, but in lesser numbers. The product reels from the studios were clearly
dominated by 3D digital, with Paramount, Sony, Disney, Warner Bros, Sony Picture Classics- all presenting their forthcoming releases in 3D digital format. Awards: As if to recall the glory of over a century-old cinematic entertainment at its most critical juncture, ShoWest 2009 honoured Dean Kerasotes and Tony Kerasotes, president and COO, and chairman and CEO of the 100-year-old Kerasotes ShowPlace Theatres as the ShoWesters of the Year. Started off as a storefront nickelodeon in Springfield, Illinois in 1909, by Gus Keresotes, the cinema company traversed many ups and downs to become the Kerosotes ShowPlace Theatres of today with a total of 935 screens from 95 locations, and take
the position of being seventh largest exhibitor in the US. The 2009 Bert Nathan Memorial Award has been conferred on Anita Watts, CEO and Co-Founder of Cinema Solutions in recognition of her innovations and leadership in theatre concessions. The Marwin Lewy Career Achievement in Film Marketing Award has been conferred on Ted Hatfield, Director of Film Marketing at Regal Entertainment Group.
Bobby with Jim Murray of Doremi Cinema
entertainworld An Empire of Cinema
The world of cinema entertainment is often a world of amusement and amazement. For, the cinema, even over 100 years after the birth of the format, excels and revels in the moviehouses of the earliest era- dating back to 19th century. Irrespective of which is the oldest-running cinema, or which is the grandest of all - Daguanlou in Beijing-China; Breitenseer Lichtspiele, Vienna-Austria; LumiĂ¨re in Pisa-Italy; KorsĂ¸r Biograf Teater-Denmark; or Pionier Cinema, Szczecin-Poland - here is a cinematic Empire that, in a way, epitomises its name. For, the cinema has not only traversed two centuries of history, and is journeying the third, it is also living up to the call of the day, taking all the strides in time. EntertainWorld, this time brings you an Empire of Cinema at the Leicester Square, London, that is grand, old, big, and still going strong in what some boastfully call post-modern digital era, with Dolby 3D digital cinema set-up, the first such venue in Europe. Here is where heritage meets technology. July-September 2009
entertainworld Empire Leicester Square: Heritage Meets Technology Arguably, one of the very few existing cinemas to boast such an illustrious history, the Empire Cinema at Leicester Square, in the City of Westminster in London, was originally built as long ago as 1884, as the West End Variety theatre. It was designed by renowned architect of the time, Thomas Verity, in the best adoptable Edwardian style for theatrical performances. In three years time, it turned into a music hall, called Empire Theatre of Varieties. In another seven years (1893), keeping in the demand of the time, Frank Verity added a vestibule and a side entrance with all the trappings of the era- a grand lobby/foyer, rich fabric-covered audi entrances, and a massive, 2000-seat auditorium, draped in luxury. For the next 15 years or so, designer C. Wilhelm created both scenery and costumes for numerous ballets at the theatre typifying a style for stage design.
Its cinematic foray began right from the origin of the format- in 1896, when it played host to the first commercial theatrical performances of a projected film to a UK audience by Auguste and Louis LumiĂ¨re. The film programme ran for 18 months. It did not do away with live performances though, but continued the short film shows till it changed hands and moved into the fold of the famous Metro-GoldwynMayor (MGM) who demolished the theatre in 1927 and rebuilt the Empire as a film theatre. Thomas Lamb, another renowned architect of the time, designed it into a moviehouse of grandeur in the typical MGM style, with addition of another 1000 seats, thereby making it, probably, the largest
ever single movie theatre. It did have a large stage to host ballets and even boasted a 4/24 Wurlitzer organ, which was removed in the 1960s. The new cinema opened in November 1928 with the silent film Trelawny of the Wells.
white Italian marble, and redesigned the grand 1330-seat auditorium with banks of coloured lights. The theatre re-opened in December 1962, with the Jimmy Durante and Doris Day film Jumbo. Through the '90s, the Empire enticed the
In 1959, the Empire installed new 70mm projectors, enabling it to show epics such as Ben Hur which ran there for a record 76 weeks. Two years later, MGM refurbished the cinema and commissioned Architect George Coles who - while retaining the famous faรงade - built a new entrance and lobby in black and TW-42
audiences with sound-and-light shows involving laser projections on curtains and walls, before the moviefare. It changed hands again in 2005, passing into Empire Cinemas Ltd., which only brought good times in the form of complete refurbishment of interiors as well as
entertainworld the sound and projection systems. The refurbishment, which reportedly cost a sixfigure sum, involved enlarging the screen to dimensions of 18.2 by 7.68 metres, reconstructing and acoustically treating the space behind the screen and rebuilding the THX baffle wall, and completely revamping the cinema's sound system. The completed setup comprised a Dolby CP650 digital processor; five newly THX-certified 96kHz-capable dbx 4800 DriveRack processors to manage the loudspeaker channels and handle delay compensation in the auditorium; power
amplifiers-13 CTs 3000s, six CTs 8200s; and five Crown CTs 2000s. This range was complemented by 16 JBL 4645C 18-inch subwoofers and 42 JBL 8340A surround speakers as well as five JBL Custom ScreenArray 5632 full-range, four-way speakers, meant to handle left, inner left, centre, inner right, and right channels. Everything is managed via Harman's HiQNet digital control protocol from a PC in the projector room. Simultaneously, the cinema was retrofitted into a threescreen cineplex, by adding a 349-seat Empire-2 - formerly separate Ritz cinema located underground - and a 77-seat Empire-3. Spring 2008 saw the addition of two more small screens - Empire-4 with 96 seats and Empire-5 with 50 seats. Today, Empire-1, 4 and 5 sport digital projection system, including the Dolby 3D digital in the grand audi-1. It's an empire of heritage and technology, in deed!
F U T U R E
R E L E A S E S
A glimpse of movies coming to Asia this autumn or laterâ€Ś Public Enemies
I Love You, Beth Cooper Production Universal Pictures
Production 20th Century Fox
Director Michael Mann
Director Chris Columbus
Starring Johnny Depp, Christian Bale
Starring Hayden Panettiere, Paul Rust
Genre Action, Thriller
(500) Days of Summer Production Universal Pictures
Production Fox Searchlight
Director Dan Mazer
Director Marc Webb
Starring Sacha Baron Cohen
Starring Zooey Deschanel
Ice Age: Dawn of the Dinosaurs
Genre Comedy, Romance
Harry Potter and the HalfBlood Prince
Production 20th Century Fox
Production Warner Bros.
Director Carlos Saldanha
Director David Yates
Starring Ray Romano, John Leguizamo
Starring Daniel Radcliffe, Rupert Grint
Genre Animation, Family, Comedy
Genre Action, Adventure, Fantasy
F U T U R E
R E L E A S E S
Aliens in the Attic Production Walt Disney
Production 20th Century Fox
Director Hoyt Yeatman
Director John Schultz
Starring Bill Nighy, Will Arnett
Starring Kevin Nealon, Robert Hoffman
Genre Adventure, Comedy
Genre Adventure, Comedy
Funny People Production Warner Bros.
Production Universal Pictures
Director Jaume Collet-Serra
Director Judd Apatow
Starring Vera Farmiga, Peter Sarsgaard
Starring Adam Sandler, Seth Rogen
Genre Comedy, Drama
Shake Hands with the Devil Production Roadside Attractions
Production Regent Releasing
Director Jonas Pate
Director Roger Spottiswoode
Starring Kevin Spacey, Saffron Burrows
Starring Roy Dupuis
Genre Comedy, Drama
The Ugly Truth
G.I. Joe: The Rise of Cobra Production Columbia Pictures
Production Paramount Pictures
Director Robert Luketic
Director Stephen Sommers
Starring Katherine Heigl, Gerard Butler
Starring Adewale AkinnuoyeAgbaje
Genre Comedy, Romance
Genre Action, Adventure
F U T U R E
Julie & Julia
R E L E A S E S
Taking Woodstock Production Columbia Pictures
Production Focus Features
Director Nora Ephron
Director Ang Lee
Starring Meryl Streep, Amy Adams
Starring Demetri Martin, Emile Hirsch
Genre Comedy, Drama
Inglourious Basterds Production Summit Ent.
Production Universal Pictures
Director Todd Graff
Director Quentin Tarantino
Starring Alyson Michalka, Vanessa Hudgens
Starring Brad Pitt, Diane Kruger
Genre Family, Musical
Genre Action, Drama, War
Halloween II Production TriStar Pictures
Production Dimension Films
Director Neill Blomkamp
Director Rob Zombie
Starring Sharlto Copley, David James
Starring Scout TaylorCompton, Tyler Mane
Fame Production Walt Disney
Director Hayao Miyazaki
Director Kevin Tancharoen
Starring Cate Blanchett, Noah Cyrus
Starring Asher Book, Kristy Flores
Genre Drama, Musical
F U T U R E
R E L E A S E S
Kaminey Production Lionsgate
Production UTV Motion
Director Mark Neveldine
Director Vishal Bharadwaj
Starring Gerard Butler, Michael C. Hall
Starring Shahid Kapur, Priyanka Chopra
Genre Action, Drama
Production 20th Century Fox
Production Sohail Khan Pro.
Director Karyn Kusama
Director Puneet Sira
Starring Megan Fox, Amanda Seyfried
Starring Jackie Shroff, Sohail Khan, Arbaaz Khan
Genre Comedy, Horror
Love Aaj Kal Production 20th Century Fox
Production Illuminati Films
Director Vicky Jenson
Director Imtiaz Ali
Starring Alexis Bledel, Zach Gilford,
Starring Saif Ali Khan, Deepika Padukone
The Final Destination
Production New Line Cinema
Production Vishesh Films
Director David R. Ellis
Director Raksha Mistry
Starring Bobby Campo, Shantel VanSanten
Starring Adhyayan Suman, Anjana Sukhani
F U T U R E
R E L E A S E S
Production Yash Raj films
Director Sabir Khan
Director Kabir Khan
Starring Akshay Kumar, Kareena Kapoor
Starring John Abraham, Katrina Kaif
Genre Action, Romance
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The next issue of TheatreWorld is our Autumn Special. It will be promoted at Showeast - Florida, USA. The last date for advertising orders is 14 August 2009. Email email@example.com
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Published on Nov 15, 2017