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The Great Digital Debate!
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TW SPECIAL FEATURE
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30 Preview - ShowEast 2009 Review - Cinema Expo 2009
Dolby, Arqiva Join Forces Doremi Takes the The Myth of
4K Lead 3D
CINEMA SYSTEMS The Working Environment
entertainworld F U T U R E R E L E A S E S
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THE DAY AND DATE ENIGMA The relentless march of technology and its convergence presents an enigma to the cinema industry. Movie producers are keen to recover their investment quickly and are viewing all technology platforms afresh. They are no longer committed to protecting the exhibition industry with extended time windows for home video, internet, etc. Day and date release has been an enigma since video piracy became a menace and has become even more meaningful today with an impatient generation of young audiences more comfortable with emerging technologies. So direct-to-home, cable, internet premieres, home videos, 3.5G mobile television are becoming buzzwords. To be sure, paid previews, late night shows and cinema premieres still remain the staple of multiplexes. But if audiences gradually show a shift in preferences from the neighbourhood multiplex to their home or on-the-move platforms for watching the latest releases then producers are bound to do a quick re-take.
In populous Asian countries it is not going to be a threat for at least the next decade but the central role of multiplexes as the only or major choice of destination entertainment is marked unless they re-invent themselves. Producers are likely to veer around to day and date release across platforms (already time windows are shortening) once they figure out the revenue models. If it gets them their initials and wards off piracy then the business case is made. Multiplexes would do well to evolve into multientertainment and business convention zones with only weekends dedicated to movie releases. A sustainable business model as of now is unclear but that is what industryâ€™s brightest minds must crystallise... soon!
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. Mail your feedback to email@example.com
Theatre World is a quarterly publication, on the motion picture exhibition industry, for private circulation. It reaches out to subscribers, mainly theatre owners and trade professionals in India, also subscribers in select Asian cities. Additional copies are being promoted at major international industry events. Theatre World seeks the healthy promotion of the theatre industry through dissemination of useful information. Some of the information is compiled from industry sources, trade journals, company brochures for the benefit of readers, especially, theatre owners. Theatre World acknowledges with thanks the authors and publishers of these printed materials. Views expressed in the articles are those of the authors and not necessarily of Theatre World. Theatre World is a trademark under registration. The contents of Theatre World are under copyright registration. All rights reserved. Reproduction by any means in whole or part without written permission is prohibited. Unsolicited printed material is welcome but no responsibility is undertaken for the same and will not be returned. Theatre World does not take responsibility for the absolute accuracy of information published.
Asian Alternative to Movies in Cinema After all that hype about the continental adoption of 2K digital, and transition to 3D en route to 4K, it is the hooplah about the alternative content in Asia. The growing enthusiasm about digital cinema, and its perceived multiple benefits, appear to be opening a new potential market segment in cinematic entertainment in the region. Should things shaping up now take their intended format, there is a big business case in Asian cinema. Global Vision Networks, a Sydney, Australia-based company, and International Datacasting Corporation, announced the launching of a Pilot network for distribution of live and 'as live' content to cinemas across Asia. The Pilot network will deliver cinema quality, live content to cinemas in over 10 cities that include Mumbai, Manila, Bangkok and Tokyo. According to the partners of the initiative, agreements are already in place with exhibitors in Chennai, Hong Kong and Singapore.
"The Pilot is going to short cut the development of satellite enabled digital cinema in Asia," said Global Visionâ€™s operations manager Adrian McCarten, who has been instrumental in developing satellite solutions for cinemas in Asia and Australia. "We have seen an explosion of interest in accessing Asian screens since we started talking to distributers earlier this year,â€? McCarten says, adding, â€œthe key has been the establishment of a single delivery path for the entire region."
Currently, distributers face real barriers to the delivery of live content to cinemas in Asia. With no common platform for reaching out to cinemas in the region, distributors are required to deal with difficulties and expenses for arranging individual signals for each country. This inefficiency meant that commercial success had been a long way off for alternate content in Asia. The Pilot network being contemplated now will address this inefficiency by establishing a single, pan-Asian distribution platform so that distributers anyplace in the world can reach exhibitors all across the region. This one step is expected to spark rapid growth in the satellite- enabling of cinemas in Asia. As a result, for the first time, it will be cost effective to deliver live content to cinemas in Asia. While the same system may be used for delivery of feature films, the fragmented nature of the market has been a big predicament and will continue to be so for at least few years to come.
According to him, the company is planning to go live from its gateway in Hong Kong to screens all across the Asia Pacific region. The same feed gets the content into a 'sub network' in Australia and New Zealand, and soon in India as well. This means that distributers can reach Jakarta and Seoul as easily as London and New York.
Not surprisingly, the distributors are strongly behind the pilot and expect to see the number of screens increase quickly as content begins to flow. Distributers are using the pilot network to trial a variety of content types, marketing and price points. Three events, including Formul-One, had been scheduled for September. However, they could not take off as the sites were not fully ready with the required infrastructure. Having said that, as many as 10 events awaiting confirmation over the remainder of the year. Global Vision, which has been providing satellite solutions in Asia Pacific region since 1992, is approaching the task with a plan of its own, realising the regional territorial disparities. That the region itself is a huge land mass of diverse geographies and regulatory environments, satellite operations across the region is arguably a daunting task- which is why the company is using its ability to integrate, uplink, space segment, installation and on-going management to assits cinemas for transition to digial domain.
Global Vision is using IDC's high performance SFX4104 Pro Video multimedia satellite receivers for the pilot project. The SFX4104, part of the Pro Cinema line of products, features dual carrier operation for simultaneous delivery of DCP files and live events to different destinations. The SFX 4104, can decode both MPEG2 and MPEG 4 AVC ( H.264) HD video and is enabled for future upgrade using Sensio technology for live 3D alternate content. "This Pilot across Asia 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 Ron Clifton, IDC President and CEO. "With such a large geographic region to cover, IDC's proven technology for the distribution of both DCP files and live events is a logical choice for this project." According to the IDC chief, the Pilot will have four screens in India alone. "We have in excess of 10,000 screens across India and the conversion to digital is only now beginning," said Siddharth Lulla, General Manager, Global Vision India. "Equipping these locations to receive live from satellite will create a new market as the regional cinemas are able to screen high quality live content for the first time. This pilot is just the start." Indeed, it appears just the start. Given the potential in the region for such an offering and the gearing up of several players for their share of the market, the alternative content explosion, may well be just in the offing.
Imax, Vieshow Cinemas Sign Multi-Theatre Deal Imax Corporation and VieShow Cinemas, the leading exhibitor in Taiwan, announced an agreement to open six additional Imax theatres in Taiwan, following the strong results at the first Imax location at the Sun VieShow Cinemas multiplex in the city of Taipei. The installations are scheduled to be completed by June 2014, and all locations will utilize Imax's digital projection technology. The exhibitor's first Imax location opened with the launch of DreamWorks Animation's Monsters v.s. Aliens: An Imax 3D Experience, followed by Paramount Pictures' Transformers: Revenge of the Fallen: The Imax Experience, which ranked the theatre as the highest grossing screen in the country, generating $125,469 on its opening weekend. The six-theatre deal was signed following the recently announced agreement between Imax and Chinese film studio Huayi Bros. to release mainstream Chinese movies to Imax theatres in China and other parts of Asia. There are currently 77 Imax theatres scheduled to be operating in Asia by 2012. To date, Imax has signed contracts for over 220 Imax digital projection systems worldwide, with more than 100 currently in operation. "Moviegoers in Taipei clearly love The Imax Experience," said Charles Wang, Chairman of VieShow Cinemas. "The incredible performance of our first location has exceeded our expectations," he said and added, "we believe that adding more locations will boost our brand and bottom line, especially given that Imax's film slate has expanded to include mainstream Chinese films, and the performance of our first location has proven the compelling economics of Imax's digital projection system."
"VieShow is doing an exceptional job of marketing The Imax Experience to its customers in Taipei and we're delighted to see such strong results from its first location," said Imax CEO Richard L. Gelfond. "VieShow's decision to add six more locations and their enthusiasm towards Imax helps us continue to generate momentum in Asia." "Our digital projection technology has enabled VieShow to capitalize on the premium Imax offering very quickly and we're very excited to expand the network with them so soon after their initial launch," added Larry O'Reilly, Imax's Executive Vice president, Theatre Development. "The expansion of our film slate opens up new opportunities for us in Asia and we're happy to see that it is helping to motivate well-known exhibitors to secure locations."
Nordic Digital Alliance, Intellinet Merge D-Cinema Service provider Nordic Digital Alliance (NDA) and digital cinema advertising service provider IntelliNet have agreed to merge to jointly offer a fully comprehensive package of digital cinema deployment, content management software and digital delivery services for exhibitors, distributors and advertising companies in Scandinavia and beyond. With Arts Alliance Media (AAM) as a leading shareholder and integrated technology provider, the combined group will emerge stronger and more capable of meeting pan-European demand. After the merger, the Nordic Digital Alliance and Arts Alliance Media group serves more than 1000 screens across France, Spain, Holland, Denmark, Norway and the United Kingdom. Oscar Hovland, IntelliNet's Chief Communications Officer will become managing director of the combined entity, which will retain the name Nordic Digital Alliance. Former NDA Managing Director, Jan-Robert Jore, has been appointed as Chairman of NDA. Software development teams at Arts Alliance Media and IntelliNet have been working together to integrate TW-8
IntelliNet's advertising Campaign Distribution Engine (CDE) into AAM's digital cinema Theatre Management System (TMS). The end result will be an efficient, end-toend solution that enables cinema exhibitors to seamlessly receive and schedule pre-show adverts, trailers and feature films on their digital cinema projectors. "Over the past few years our commercial collaboration and mutual admiration have resulted in our joining forces,” said MDA managing director Oscar Hovland. “Our six years working with digital advertising solutions and NDA's comparable endeavors in digital cinema services are compatible and strengthen both parties,” he said adding, “We are excited about the prospects of working closer with Arts Alliance Media in expanding our reach across Europe.” Says Howard Kiedaisch, Chief Executive Officer of Arts Alliance Media:”We are delighted with this merger of scope and scale. IntelliNet brings expertise and relevant technology to the group and we are very happy with the appointment of Oscar Hovland as Managing Director of NDA.”
CinemaxX Preparing for the Future CinemaxX, Germany's most popular multiplex cinema operator will have equipped 56 of its cinema halls with the new CineAlta 4K digital cinema projectors from Sony and 3D capabilities from RealD by the end of 2009. Düsseldorf-based cinema installation major Film-Ton-Technik Hannsdieter Rüttgers GmbH (FTT) had been entrusted with the task of this digital transition. "By selecting the highest image resolution suggested by the DCI specifications, we aim to establish a high standard in the German cinema market", explains Christian Gisy, CEO of CinemaxX AG. "Those who see a business opportunity behind 3D digitalisation are only going to be successful in the market if they take the right approach from the start. We are investing in a technology that currently occupies the top end of the market and has a great future. That's why we consciously opted for equipment from Sony and RealD and for installation by FTT." Each of the 56 "CineAlta 4K" projection systems from Sony (three of which are being installed in CinemaxX's cinemas in Denmark) consists of an SRX-R220 Digital cinema projector, an integrated LMT-200 Media Block and LSM100 screen management system software. The 3D system from RealD contains a 3D lens adaptor supplied from Sony with filters specifically adapted to Sony's "SXRD" technology. Fitting and removing the 3D lens is simple. CinemaxX's projectionists are able to mount or remove the lens quickly and easily between screenings and a 2D 2K preshow can be projected directly through the 3D lens without requiring any changeover. This gives the cinema operators greater flexibility for their screenings: CinemaxX can use the new projectors to show digital cinema in 2K or 4K resolution as well as the increasingly popular 3D films. "CinemaxX has always been one of the major innovators when it comes to cinema in Germany - from the design of the auditoria right down to the smallest technical detail", says Oliver Pasch, Head of Digital Cinema Europe at Sony Professional. "By working with CinemaxX we can set trends for the cinema of the future. We are creating a whole new cinematic experience with a level of quality not seen before
that makes it possible to screen alternative content, such as opera or concert transmissions, and therefore encourage new audiences to go to the cinema." FTT's installation teams have already done some these 56 CineAlta 4K installs which are slated to be completed in two phases. The initial installs have been made in time for three spectacular 3D movie releases. The first systems have introduced the audiences to the magical world of DisneyPixar's animated comedy UP released on 17 September. This will be followed up by Robert Zemecki's A Christmas Carol on 12 November, and finally the long-awaited cinema highlight of the year Avatar from the Titanic creator James Cameron on 17 December 2009. "By mid-November at the latest, we will have reached an important new milestone for digital cinema in Germany with the installation of the 4K and 'RealD 3D on 4K' systems at CinemaxX," says Egon Gräfen, managing director at FTT. "With the nationwide rollout with Sony and CinemaxX, we will be helping to shape the future of cinema in Germany." Currently, Sony is the only manufacturer of commercially available 4K projectors for cinema applications, though the earlier digital cinema player DLP Cinema of Texas Instruments also has annouced its 4K version, to be in place by mid-2010. The image resolution of DLP’s ensuing 4K digital cinema is not yet known. However, Sony’s resolution is advocated to be four times higher than that of full HD or 2K projectors, which is 4,096 × 2,160 pixels. In total, HDTV manages two million pixels while Sony achieves almost nine million. The quadrupled resolution is also noticeable when 3D movies are shown. Unlike the 2K projectors - which, in order to project 3D movies in 2K resolution, have to show the images for the right and left eye frame sequentially - the CineAlta 4K projection system from Sony is claimed to achieve a very natural, comfortable, non-tiring viewing experience for the audience by simultaneously projecting two 2K images.
RealD, CinemaxX Join Hands for Circuit-wide 3D Global 3D cinema leader, RealD, and major German cinema circuit, CinemaxX, have partnered to equip CinemaxX theatres across Germany and Denmark with RealD 3D. This multi-screen pact builds on RealD's extraordinary momentum that saw 400 per cent growth across Europe in the first half of 2009, cementing RealD as the territory's preferred 3D provider. The multi-year agreement kicked off with 30 CinemaxX screens in Germany and Denmark immediately upgraded to RealD 3D. An additional 30 RealD 3D equipped screens will be added across the CinemaxX circuit by the end of the year, with an ongoing rollout of more RealD 3D enabled screens through 2010. October-December 2009
"We're pleased to welcome CinemaxX to the RealD 3D platform," stated Bob Mayson, managing director of RealD Europe. "This partnership will assure moviegoers across the CinemaxX circuit will experience the extraordinary line-up of movies this year and for years to come in crisp, clear, fully immersive RealD 3D." "We're excited to partner with RealD to equip our circuit with the best 3D cinema technology available," said
Christian Gisy, CEO of CinemaxX AG. "RealD 3D will give CinemaxX audiences an unmatched 3D entertainment experience in time for this year's top films." Real D's new generation 3D technology is deployed across the world's largest 3D platform with over 8,700 screens under contract and over 3,200 screens installed in more than 45 countries with over 300 exhibition partners.
CEA to Set Up Digital Funding Group The London-based Cinema Exhibitors' Association (CEA) plans to establish a digital funding group to negotiate and facilitate financial support for small and medium-sized cinema exhibitors in the UK to convert to digital cinema technology. The announcement follows an earlier exercise to identify the potential size and nature of such a grouping.
for the larger companies represented on the CEA Executive Board and to colleagues at the UK Film Council for their support in this," he said, and added, "I urge all of those small and medium-sized cinema operators who have not yet done so to show similar commitment and to join us in this hugely important endeavour."
Commenting on the announcement CEA Chief Executive Phil Clapp said: "The 'expressions of interest' exercise we have run over the last few months, together with feedback received during the recent programme of digital roadshow events delivered jointly with the UK Film Council, confirm that there is an absolute desire on the part of UK cinema operators to embrace digital technology."
Over the coming weeks, CEA would appoint someone to put in place the foundations for establishing the group and to begin looking at what might be possible. However, CEA made it clear that it cannot guarantee that the apex body would be able to help everyone who wanted to convert to digital though it is optimistic about securing a digital future for the UK cinema operators.
According to him, many also recognise that they are extremely unlikely to be able to secure funding deals to allow them to convert on their own. The CEA strongly believes that the proposed funding group may be the only option to achieve this for a significant majority of small and medium-sized cinema operators.
Welcoming the announcement, Peter Buckingham, Head of Distribution and Exhibition at the UK Film Council, said: "securing film's successful transition to digital is the UK Film Council's top strategic priority for the years ahead - it is vital if we are to meet the needs of film-makers and the demands of audiences. We therefore congratulate the CEA on its vision and offer our whole-hearted support in backing this."
Preparation for the digital transition is now well underway and it seems inevitable that 35mm prints will become increasingly difficult and expensive to source in the medium term, the CEA chief said, adding, the digital conversion plans of all the major circuits are all well-advanced.
According to him, there is a generic opinion that as far as possible no existing 35mm cinema should be left behind in this transition. A further announcement regarding the establishment of the funding group will be made in due course.
According to the CEA, so far, companies and organisations representing over 450 screens have indicated their willingness to be involved in the funding group. But that still leaves another 600 or more screens outside of the major circuits which stand little or no chance of finding financial support without additional help.
The production and distribution of mvoies in the UK is currently predominantly via 35mm prints, which are expensive to produce and to transport. However, digital cinema in the country is now starting to take hold, with the establishment of the UK Film Council-funded Digital Screen Network comprising 238 screens across the country.
"We have shown the seriousness of our intent with the announcement," Clapp said. "I am grateful in particular
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SM Cinema Jump-Starts D-Cinema Rollout Finally, after five years of planning and study, SM Cinema and DCI have decided to initiate the roll-out of DCinema installations in the Philippines. Largest cinema exhibitor in the country today, SM currently operating 204 screens from over 34 branches nationwide - and still growing. Through this move, SM revolutionizes the movie industry with what it calls the SM Digital Theater. Moviegoers can TW-10
truly enjoy a whole new movie experience at SM Digital Theater. Aside from having the screen and speaker strategically designed to make every seat 'the best seat in the house,' movies will be seen in ultimate perfection in the projection and unparalleled quality in vision and sound - no weaves, pops, scratches and ghosting, i.e., So Clear, So Real.
SM Digital Theater shows high-quality 2D/3D digital movies in a regular cinema. SM Digital Theaters have shown blockbuster Hollywood digital content and digital alternative contents. This technical arrangement was made by the joint efforts of SM and DCI. DCI is a local company which pioneered and initiated the efforts of trying to bring digital cinema technology in the Philippines five years ago. Though its acceptability was comparatively low due to initial high costs of investments, Philippine exhibitors now appear
to have realised the benefits of this new technology. Having ventured into digital cinema exhibition in 2007, SM till date has installed a total of 12 SM Digital Theater cross its home market and looks forward to converting at least 100 screens in a three-years rollout plan. Other players in the industry that followed SM are Araneta Cinemas, Robinsons Cinemas, Ayala Cinemas, The Cabanas Cinemas and Greenhills Theaters.
GDC, RealD to Deliver 3D to Asia Leading digital cinema solution provider GDC Technology (GDC), and RealD, the global leader in providing 3D to cinema, entered into an agreement whereby GDC will become a distributor for RealD's 3D systems in Asia. Under the non-exclusive agreement, GDC will work with RealD in territories such as China, Hong Kong, Taiwan, Thailand, Indonesia, and Singapore. GDC will be a representative for RealD's 3D systems, covering sales inquiries, technical support, maintenance, installation, marketing support, and on-going operations. GDC has gotten off to a good start in successfully securing deployment deals with two largest cinema chains in Hong Kong: Broadway Circuit and UA Cinemas. Coupled with GDC's own range of excellent digital cinema products and the recently signed VPF agreements with major Hollywood studios, the RealD distributorship is a significant new addition to GDC's repertoire of product and service offerings. GDC is undoubtedly now the only
company that can provide Asian cinema exhibitors an unprecedented level of one stop solutions to meet all their needs for digital conversion and 3D digital cinema. "RealD is a global brand with our cinema system driving the digital 3D revolution that's taking the world by storm," said Michael V. Lewis, chairman and CEO of RealD. "Working with a respected company like GDC will continue to accelerate our growth in Asia, filling the high consumer demand for the RealD 3D viewing experience." "Exhibitors and distributors are embracing 3D due to its overwhelming popularity and proven revenue generating ability," said Dr Man-Nang Chong, founder and CEO of GDC Technology. "There is undoubtedly a rising demand for 3D in Asia; GDC will be in a strong position to tap into this opportunity by forging a partnership with RealD, who is the undisputed leader with the largest share of the 3D market worldwide."
Christie Receives ICTA's Manufacturer Award Visual solutions leader Christie has been awarded the prestigious 2009 International Cinema Technology Association (ICTA) Teddy Award as Manufacturer of the Year. The annual award is given by virtue of the votes given by the motion picture industry dealers who are active members of the ICTA. Founded in 1971, ICTA represents over 180 manufacturers and cinema-related businesses worldwide. Winning the coveted award for the second time, Christie had been voted the best by a field of nearly 100 industry manufacturers. The body expressed its appreciation of Christie for its ‘progressive principles of product development, providing dealers with services and up-todate technical and sales information, while supporting the status of its products without qualification.’ “It is a great privilege to be acknowledged as the best in the industry, especially when it comes from your peers,” commented Robert Sunshine, executive director of ICTA. "Christie has earned that distinction for their achievements in digital cinema, their exceptional service in the market place, and for being on the cutting-edge of new technologies."
Texas Instruments whose revolutionary DLP Cinema technology powers Christie's celebrated projectors, congratulated Christie for its achievement. 'Incredible reliability, rock-solid performance and amazing service are just a few reasons why Christie is the Manufacturer of the Year and the much-deserved winner of the ICTA's Teddy Award,' said the TI appreciation. Christie President and COO Jack Kline, who accepted the award at the recent ICTA convention, expressed great pride in the recognition given to Christie. “It is a great honour to win this award. Christie's success is a direct result of the efforts of our highly dedicated staff, which continuously reaches out to its dealers to provide unparalleled support, service and technological expertise that always exceed expectation,” Kline said, adding, “programmes such as Christie's Factory Certified training, which dealers consistently rate as one of the best in the industry, are the hallmark of our customer-focused approach. Backed by our passionate and experienced staff, our programs help set the standards of excellence in the industry.”
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.
Dolby Launches New Screen Server Dolby Laboratories introduced its newest cinema server, the Dolby Screen Server (DSS200)- the allin-one platform to store, decode, and deliver pristine movies to the digital cinema projector. Based on Dolby's proven, existing FIPScertified media block and DCI-compliant server, the DSS200 offers improved storage, serviceability, and interoperability. A storage subsystem moves feature content around the network effortlessly. Flexible serial automation and closed captions support automation and access needs, and the ability to perform software updates remotely makes updates simple. The DSS200 combines all of the key capabilities of the Dolby Media Block from the previous generation Dolby Show Player (DSP100) and Dolby Show Store (DSS100) plus a range of new features. New features and key capabilities of the DSS200 include: •
Increased storage: can store up to ten feature-length movies.
Simplified design: the unit slides out from the rack on rails, and the top lifts up for easy access to the hardware inside.
Removable drive bay: easily accepts industry-standard content hard drives.
A/V outputs: connects link-encrypted image data to the digital cinema projector and audio data to the cinema's sound processor, such as a Dolby CP750 or CP650, or a Dolby DMA8Plus Digital Media Adapter paired with another Dolby sound processor model.
Integrated Dolby TMS software: provides a complete, easy-to-use interface for building, scheduling, and monitoring shows locally or remotely.
"The new DSS200 provides high performance and is a comprehensive, flexible product to accommodate the evolving digital cinema environment," said Page Haun, Senior Director of Cinema Marketing, Dolby Laboratories. TW-12
"Megaplex has found the new DSS200 extremely easy to use with rock-solid hardware and powerful management tools that ensure Dolby will continue to have the best server on the market," said Mike Renlund, Digital Cinema Specialist, Megaplex Theatres. "The simplified design of the DSS200 allows for easy replacement of drives, fans, and other components. Combined with the latest Dolby system 4.1 software, this makes the DSS200 the most robust and usable server I have ever seen." Dolby's new Theatre Management System: The cinema major also introduced an updated version of its popular theatre management system- the new TMS v.4.1. Coming with added features, the new TMS 4.1 offers remote upgrades and closed caption whereby the playback system supports SMPTE draft-standard closed caption protocols, and the entire system can be upgraded remotely via the exhibitor's digital cinema network. As part of the Dolby Web services, the TMS allows interoperability with third-party control systems. It also allows synchronization with local Screen Server changes, even while disconnected, and fully automatic synchronization of show and schedule databases when adding or replacing a Screen Server on an existing network. In addition, It gives theatre personnel and network operations centers (NOCs) comprehensive central control over all presentations-for a single screen, a large multiplex, or a system integrator's entire network. As an integral part of a networked Dolby Digital Cinema system, the TMS software enables network control of up to three Dolby Screen Servers without any additional equipment. More, it enables central network control of all the Dolby Screen Servers in a multiplex when deployed with a Dolby Show Library. From ingesting content and moving it, even while playing, to drag-and-drop show assembly, the Dolby TMS software features operational simplicity, at-a-glance monitoring, and comprehensive remote control.
Doremi Builds 4K Integrated Media Block Doremi Cinema announced repackaging of its current 4K server technology into a 4K integrated media block (IMB) for DLP Cinema next generation electronics. This will secure a full solution for Texas Instruments' and their OEM's upcoming 2K and 4K projectors. Doremi has been working with Texas Instruments' DLP Cinema team for over a year to ensure compatibility of Doremi's IMB with its next generation electronics. The IMB utilizes Doremi's patent pending (USPTO 20070263937) 4K media block technology. Doremi's 4K patent allows Doremi to capitalize on its 2K knowledge and technology by only adding the 4K portion to the back end of the processing. This eliminates Doremi's need to design a whole new media block which would add a significant amount of time to any production release. Engineering samples of Doremi's IMB will be made available to TI's OEMs for integration into their next generation projectors in Q3 2009. Production IMBs will be available in Q1 2010. "Our ability to provide exhibitors with a 4K road map is vital," stated Michael Archer, Vice-President, Doremi Cinema. We give them the opportunity to utilize a single server manufacturer across the multiplex. Exhibitors can mix and match 2K and 4K technology while keeping the same external server hardware, SMS and TMS. They also
Barco To Join the 4K Digital Race One of the three DLP licensees to manufacture digital projectors, Belgian projection major Barco Digital Cinema too is making rapid strides in the 4K race. Having made a demo of the prototypes of product range for the 4K digital domain at the CinemaExpo, the company announced its readiness for the commercial roll- out of 4K digital projectors from 2010, along with the improvised 2K digital systems. From next year onwards, Barco's family of digital projectors will be complemented with 4Kready projection. Barco will continue to invest in 2K projection and will at the same time also develop 4K solutions. Based on the DLP technology, these 2K and 4K projectors will feature typical Barco differentiators like modular design for ease of maintenance, high brightness for perfect 3D image quality and the lowest total cost of ownership. Wim Buyens VP-Business Development at Barco Digital Cinema explains: "this projector family will bundle the best of two worlds. 2K projection will offer customers the best value for money whereas 4K will be targeted at premium, large screen venues. To underline our leading market position, we will make sure that we are the first to deliver 4K projectors to the market."
benefit from all the features available on Doremi servers, such as closed captioning, server generated 2D/3D subtitles and live event playback." Doremi to Supply 4K IMB to Cinemark: Doremi entered into an exclusive agreement with Cinemark Holdings to provide 2K and 4K server technology for their digital cinema deployment. Under the agreement, Doremi will be the sole supplier of server and media block technology for Cinemark's digital cinema roll out. The digital projectors will be supplied by Barco. As part of the DCIP initiative, Cinemark plans to deploy over 3,000 digital cinema systems throughout the US, including Cinemark's Century, CineArts and Tinseltown brands. The agreement also includes plans for Cinemark's international locations in Latin America, which would bring the overall deployment to more than 4,600 screens. Doremi's 4K screen server has been available for two years. Repackaging the technology into a 4K integrated media block allows Doremi to have the product available for the DLP Series II projectors by year end. "Doremi's continued dedication to stay at the forefront of technology allowed Cinemark to remain with its chosen server partner," stated Michael Archer. "Cinemark has experienced Doremi's commitment to build for the future and they will continue to benefit from the enhanced Doremi feature set as they move forward."
Christie To Launch 4K DLP Cinema Product Line Christie, the world leader in digital cinema projection, announced the introduction of the new Christie Solaria series of digital cinema projectors, based on Texas Instruments' DLP Cinema technology. The five new products in the series offer a wide range of resolution and brightness levels for exhibitors who require projection from the smallest to the largest screens. The new product line includes the Christie CP2210, Christie CP2220 and the Christie CP2230 - all available at 2K and 4K-ready; as well as Christie's premium 4K projectors for screens up to 100 feet. The Christie CP4220 and the Christie CP4230, promise to deliver an unprecedented 30,000 lumens of brightness. The Christie CP2210, Christie CP2220 and the Christie CP2230 will be available in the first half of 2010. The Christie CP4220 and CP4230 will be available in the second half of 2010. All projectors in the Christie Solaria series utilize Texas Instruments' next generation electronics which are designed to meet the Digital Cinema Initiatives (DCI) requirements. Each of the five projectors feature a new modular architecture for improved serviceability and ease of maintenance, an optional integrated media block, and incorporate Christie's Brilliant3D technology for the most realistic and brightest 3D presentations. Additionally, due to the ability to deliver higher brightness
with lower power lamps, all current and next generation Christie projectors offer up to 25 per cent lower cost of operation than competing technologies. "The successful implementation of more than 7,000 installations around the world has provided us with a unique wealth of knowledge and experience. We've achieved 99.999% reliability and have presented more than 10 million digital screenings; however, when we look beyond the numbers, our most critical learning has come from our exhibitor partners," said Jack Kline, president and chief operating officer, Christie Digital Systems USA, Inc. According to the Christie top executive, as the company moves into the second decade of digital cinema projection, it recognizes the need for its exhibitor partners to have an even wider choice of projectors to address the dynamic market landscape. "Our current product line will continue to meet both exhibition and studios' immediate demand for both 2D and 3D presentations, and in 2010 and beyond, our Solaria series will meet our customers expanded needs for choice in brightness, resolution and cost of operation," Kline said and added, "based on the knowledge gained from our current worldwide installed base, we estimate that 80 per cent of all screens will be 2K and the balance will be 4K for larger screens."
GDC Tech Develops 4K Media Block GDC Technology (GDC), a world leading digital cinema solution provider, is pleased to announce that it is developing a 4K Media Block which will be compatible with the new generation of 4K chip being developed by Texas Instruments. The new product will extend the capabilities of GDC's SA-2100 line of digital cinema servers and is timed to be ready when 4K capable DLP Cinema® projectors become available. GDC was the first digital cinema server manufacturer to show 4K capability as early as in 2004. This early version of GDC's 4K servers was used in demonstrations with Sony 4K digital cinema projectors using SXRD™ technology in China, Singapore, Taiwan, South Korea and Hong Kong from 2004 to 2005. These early 4K demonstrations with Sony clearly showed that GDC's state-of-the-art SA-2100 servers were already architected to support full 4K content and bandwidth requirements at that time. GDC's 4K capable digital cinema technology will retain all its existing advanced features such as: •
Instant import of data drives - allows instant transfer of data drives (i.e. HDD) from one SA-2100 to another, making it possible to move a movie quickly from one
screen to another. The entire movie (data) transfer process can be completed within a few minutes. • Instant playback from any CRU drive on the SA-2100A for emergency - allows content received on a CRU Dataport drive to play back directly from the drive without ingesting. This is useful in emergency situations where the theatre receives content at the last minute. •
Instant playback of content held on the GDC TMS (Theatre Management System) for emergency - allows content residing on the TMS to play back directly through streaming from the TMS without ingesting at the screen server.
Built-in 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.
Closed Captioning capability - facilitates greater access to motion pictures by displaying closed captions from DCPs on WGBH's Rear Window Captioning devices.
Barco, Cinemark Join in 4K Digital Roll-Out Barco Digital Cinema has announced that Cinemark Holdings, Inc., the world's second largest motion picture exhibitor, has entered into an exclusive agreement with Barco to secure the industry's best-in-class and brightest digital cinema solution. The agreement will essentially employ the full spectrum of Barco's upcoming new family of enhanced DLP Cinema next generation 4K projectors. As part of the DCIP initiative, Cinemark plans to deploy digital cinema at over 3,000 digital projectors on nearly 300 theatre locations throughout the US. The most important include Cinemark's Century, Cine Arts and Tinseltown brands. The agreement also includes plans for Cinemark's international locations in Latin America, which would bring the overall deployment to more than 4,600 screens. The Barco 4K digital projectors would be driven by Doremi's 4K integrated media block. "Cinemark has selected Barco not only for the quality of their projectors, but because they have the ability to
partner with our team throughout the conversion process from 35mm to digital," said Alan Stock, CEO of Cinemark Holdings, Inc. "We strongly support the DLP technology brought by our partners Barco and Texas Instruments as we believe it is the best in the industry in terms of quality, reliability and value. This will provide our customers the best viewing experience available." "The scope of this new partnership with Cinemark is impressive, both in quality and quantity, and we are honored to be selected as their exclusive digital cinema projection provider," said Eric Van Zele, CEO of Barco. "The partnership perfectly underscores the principles by which we operate - the quality and reliability of our core technology, and the remarkable relationships that we build with our customers. These are the key reasons why we were selected by Cinemark, and in fact they are the fundamental qualities we uphold towards all of our customers."
Christie to Power Biggest Chinese Digital Drive Chinese digital cinema industry leader Time Antaeus Media Group has selected Christie as its partner for its digital cinema deployment in China. This marks the country's most extensive commercial effort to install 800 Christie CP2000 series projectors in select cinemas by the end of 2010. These projectors will be installed together with 800 Time Antaeus Montage CDCS2000 D-Cinema Servers. Time Antaeus opted for Christie's acclaimed CP2000 DLP Cinema projectors based on their superior image quality and reliability. Christie CP2000 series projectors are widely popular among theatre operators and have won numerous positive reviews from the industry. The collaboration between Christie and Time Antaeus began at the 2008 Beijing Summer Games' ceremonies with the purchase of 120 Christie CP2000-ZX models. The CP2000-ZX digital cinema projectors delivered spectacular visuals throughout the event, demonstrating their full flexibility in a non-cinema environment. After the ceremonies, these projectors and Time Antaeus' Montage CDCS2000 D-cinema servers were installed by CFGAntaeus Digital Cinema Investment Co. Ltd. (CFGAntaeus), a joint-venture of China Film Group and Antaeus Group, in theatres across China. This marked part of the company's digital cinema pilot. In August 2008, Christie and Time Antaeus were selected by CFG-Antaeus to provide another additional 400 units of digital cinema projectors and servers.
As part of the tailored digital cinema solution installed by CFG-Antaeus, the Montage CDCS2000 D-cinema server provided is a joint development between Time Antaeus and Doremi Cinema. It conforms to the DCI (Digital Cinema Initiatives) specifications for digital cinema servers. Capable of playing JPEG2000 digital movies with an excellent 2K resolution playback of up to 250Mbits/sec, the server promises an enhanced movie-going experience. Using AES128 encryption for keys, CDCS2000 supports watermarking through Thomas and NextGuard technologies. This FIPS140-2 Level 3-certified server is a milestone in China's digital cinema industry, as it meets global standards and is making its mark on the global cinema scene. The pilot test of the 120 units of Christie CP2000 projectors and Time Antaeus' Montage CDCS2000 D-cinema servers installed in the theaters across China proved to be a tremendous success. Since starting operation, they have experienced "zero" failure rates, offering users a high level of stability. This tailored digital cinema solution also supports devices such as JNior, eCNA as well as 3D Technologies such as Dolby 3D, MasterImage, RealD and XpanD. It also includes a Theatre Management System (TMS) to allow remote content programming and management. In addition, the server can be remotely monitored by a network operations centre. October-December 2009
Barco Completes 1000th Digital Install in China Barco announced that it has completed its 1,000th digital cinema projection install in China, which it said confirms its leading position in the Asian Pacific digital cinema market in general, and China in particular. The achievement has been made in association server solutions leader GDC Technology with whom the projection major had been working since 2007. Recently, major deals with prime exhibitors like Jinyi, Hengdian and the China Film Group were announced for a total of more than 200 digital cinema projectors. “China is one of the fastest growing cinema markets in the world and Barco is proud to be part of its transition to digital,” comments Frank Christiaens, Barco’s PresidentGreater China. “Barco has a long term commitment towards the digital cinema market and has made severe efforts towards the China market. We very much value our existing partnerships and our customers’ confidence in Barco digital cinema projectors.” “China has always been at the forefront in digital innovation, and we have a market share of more than 80 per cent in China,” remarked Alain Solomon, VP of Barco’s Digital Cinema business. “Our Chinese customers especially value our reliability and low total cost of ownership, resulting from the modular design and use of standard lamps in our projector design.” ‘Strong’ Partnership: Barco announced the signing of a professional services agreement with Ballantyne Strong, Inc., As outlined in the one-year, renewable, non-exclusive
agreement, Ballantyne’s industry leading service organization, Strong Technical Services (STS), will provide Barco with digital cinema projection service and support, including, but not limited to, on-site installation and service as well as ongoing maintenance services for Barco’s U.S. customers. Having built a national team of highly qualified digital cinema projection field technicians, STS is certified to install and service all digital network configurations and related peripherals. “The service agreement with STS is part of Barco’s desire to establish partnerships with the best providers servicing the needs of our growing install base of digital cinema projectors and associated servers,” remarked Filip Pintelon, President Media and Entertainment division. “Given Barco’s leadership in the digital cinema industry, we are very excited to partner as their primary digital cinema service provider in the U.S. and deliver the broad array of specialized services required for the ongoing rollout of digital projection equipment.,” said John P. Wilmers, President and Chief Executive Officer of Ballantyne. “Over the past year, Barco has delivered a very high level of training and ongoing support for our field service technicians, ensuring they have the cutting edge knowledge and experience to seamlessly install and maintain Barco’s full line of digital cinema solutions. This agreement reflects both organizations’ unwavering commitment to putting the needs of our customers first, and we are excited about forging a strong, long-term partnership.”
SmartJog Digital Cinema Library at Europalaces SmartJog, the leader in managed digital delivery worldwide, announced that French theatre chain, Europalaces, the owner of Gaumont and Pathe cinemas, has signed an agreement for the purchase and deployment of its high capacity SmartJog Digital Cinema Central Library Servers. The first phase of deployment was recently completed to 33 sites in France, with planned Phase 2 to start shortly. While SmartJog has been deploying its Libraries since last year to theatres in France, Europalaces is the largest chain to commit to a substantial rollout in Europe. Over 65 theatres and 400 digital screens are currently connected to the SmartJog delivery platform. With this major deployment into Europalaces theatres in France, Switzerland and the Netherlands, the TDF PanEuropean Digital Cinema Network, a secure satellite and fiber delivery service operated by TDF subsidiaries, SmartJog and Media Broadcast, will grow to over 200 theatres by the end of 2009. SmartJog's Digital Cinema Central Library Server is the only hardware on the market which is capable of storing very large amounts of data and receiving Digital Cinema Packages (DCPs) via satellite and fiber. This agreement TW-16
will enable Europalaces to receive all its digital content via SmartJog. The Central Library Server, which combines up to 12 Terabytes of storage with central management features, is backed by a five-year warranty and 24/7 remote system monitoring via terrestrial connection. Upon arrival of DCPs in the library server, automatic checks are performed to ensure the integrity of the files and DCPs can be automatically ingested into the local digital cinema playback servers or theatre management system (TMS). Content can also be loaded locally from a physical medium or via an internal network. A secure and easy-to-understand web interface is available for the management of deployed Central Library Servers. The theatres that were part of the first phase of deployment, are already electronically receiving trailers and preshow material from Mediavision, the leading cinema advertising company in France. "We are happy to provide SmartJog's Central Library server to Europalaces and look forward to a long working relationship with the company," says Nicolas Dussert, Director of European Digital Cinema Sales for SmartJog.
Sensio Expands 3D Live Network in Europe Sensio Technologies Inc., inventor of the SENSIO 3D technology, announced the continued expansion of its 3D live roll-out in high definition for digital cinemas throughout Europe. The announcement was made following a flawless 3D live satellite broadcast of the Julien Clerc concert on July 16 to four locations across France. Julien Clerc is a leading French entertainer with a broad following throughout France and Europe. The concert was broadcast live to multiple digital theatres in high definition 3D along with high quality and crisp images. Fans were amazed with the level of quality and comfort of 3D viewing and enjoyed a real immersive 3D experience. The event was broadcast by OpenSky, who purchased and installed International Datacasting Corporation(IDC)'s Pro Cinema 3D live Decoders equipped with leading SENSIO 3D technology. This equipment is an add-on to the existing digital cinema broadcast network
previously provided to them by IDC. 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. "Our technology is deployed worldwide, through various satellite enabled theatre networks in America, Europe and Asia, which confirms our position as the global leader in becoming the de facto standard. The global network we are creating enables 3D live broadcasting around the world, and we are extremely proud to have been selected by Eutelsat, one of the world's leading satellite operators, for the continued expansion of the SENSIOÂŽ3D enabled digital network", said Nicholas Routhier, SENSIO's President and CEO.
Dolby 3D at BAFTA Showpiece Theatre
British Academy of Film and Television Arts (BAFTA) installed Dolby 3D Digital Cinema at its prestigious London headquarters' showpiece theatre at 195 Piccadilly. The Princess Anne Theatre sits at the heart of the BAFTA headquarters building. The state-of-the-art cinema equipped with premium digital projection facilities seats more than 220 people and plays host to many leading industry events. "BAFTA is committed to embracing the ever-changing world of film and with the dramatic growth we are seeing in digital 3D features, it is vital that BAFTA offer a premium experience for its 3D screenings," said Keith Fawcett, Head of Technical Services, BAFTA. "We chose the Dolby 3D system because it produces the most fantastic 3D images without having to change our screen or degrade our 2D presentations. Also, with
Dolby's reusable 3D glasses, BAFTA continues its mission to be environmentally friendly." The Princess Anne Theatre projection room at BAFTA already boasts a selection of Dolby digital cinema equipment, including a Dolby Digital Cinema server and Dolby Show Library, Dolby DMA8Plus Digital Media Adapter, and Dolby CP650 Cinema Processor. The addition of Dolby 3D Digital Cinema brings a stunning and realistic extra dimension to the 3D content shown in the theatre. "We have been proud to be involved with the work of BAFTA for many years," said Julian Pinn, Manager, Business Development, Dolby Laboratories, "and the choice by the Academy to add Dolby 3D Digital Cinema to their already excellent facilities reinforces their commitment to providing the very best screening and presentation facilities at 195 Piccadilly."
â€˘ TECHNOLOGY â€˘
Dolby, Arqiva Join Forces Dolby Laboratories recently 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 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."
A Win-Win Proposition
TW caught up with Barrie Woolston, Commercial Director at Arqiva's satellite and media division, and Richard Welsh, Digital Cinema Services Manager at Dolby Laboratories, during the CinemaExpo 2009 in Amsterdam to know more about the joint-initiative. Excerpts:
On what they intend to do exactly... We are trying to establish a professionally and remotely managed and satellite-powered network to deliver digital content to cinemas across Europe. On opting for satellite network over fibreâ€Ś Europe is a big cluster of many small and independent countries. There is no fibre network in the region that
can connect these multiple geographies. Owing to their independent stature, laying a common fibre network across the region is not only complicated but also costintensive. Satellite-based delivery mechanism has been there for many years and is well-defined. In the absence of region-wide fibre optic network, there is no other costeffective delivery model than the satellite.
Contd on page TW-25
• TECHNOLOGY •
The Great Digital Debate!
Cometh 4K DLP The digital cinema domain is back to hot debate. Even as the challenger Sony, having taken the technology debate to a new high, continues to 'magnify the picture,' the originator Texas Instruments is seeking to raise the bar further by launching its own 4K solution. Putting all speculations to rest, the DLP Cinema creator has announced its coming with 4K solution. Now, the global cinema domain appears to be in for yet another digital debate of the highest order- the 4K. A TW perspective:
After all that debate over (non-)viability and willingness of the exhibitors, Texas Instruments (TI), the DLP Cinema creator, has finally come to the fore. It announced plans to incorporate enhanced 4K technology as an extension of the next generation electronics platform for DLP Cinema projectors. The solution developer hopes that its inclusion of higher resolution gives exhibitors worldwide the widest variety of options to fit their needs and screen sizes. TI also declared that it will continue to innovate on and further the development of its DLP Cinema 2K chip which is undisputed industry standard with nearly 11,000 installations globally. Texas Instruments will soon deliver the enhanced DLP Cinema 4K chip to its licensees, Barco, Christie Digital and NEC, which will extend the breadth of products to exhibitors to over 12 projector models. All projectors with the next generation DLP Cinema electronic platform, regardless of the resolution, will have the leading attributes for which DLP Cinema products are known, including precise DCI-compliant colours, superior contrast ratios and light output necessary to illuminate large auditoriums. The solutions provide the capability to light up theatre screens as big as 100 feet and 3D screens as big as 75 feet, which has been a challenge for competing technologies.
Says Kent Novak, senior vice president and general manager of DLP Products: "Texas Instruments is proud of its contributions to the cinema industry and is absolutely committed to further innovation through DLP Cinema. We remain dedicated to its customers, and through shipping millions of units we are able to provide a significantly lower cost structure in comparison with our competitors." "4K is not a replacement product, it will exist along with the 2K," says Nancy Fares, Business Manager, DLP Cinema. "Two-K, and 4K are both DCI standards. Both of them will co-exist. There is no need for people to worry about 2K, and people can continue to enjoy movies in the existing model as well as invest in 4K for the discerning premium segment," she says, adding, "it is an offering of widest options for the market- one, in sizes, two, in resolutions, three, in partners for 3D." Alan Stock, chief of Cinemark, the strongest supporter of DLP, feels happy about their solution provider coming up with upgraded digital package. "Based on our decade of experience with DLP Cinema technology, its unmatched reliability has made it our exclusive platform of choice for 4K deployments. With no limitations on resolution, DLP Cinema allows Cinemark to truly deliver the highestquality image to our customers."
The Critical, Digital Factors According to exhibition industry experts, the critical difference between the DLP and the Sony's 4K is the use of technology. DLP uses the proven and patented ”light engine” technology whereas Sony uses the LCoS technology that is challenged both for the image quality and environmental implications, besides lesser amount of light. These issues are particularly in focus when it comes to projecting 3D movie presentations. Accordigng to digital exhibition experts, the currently running Sony 4K projection system splits the top and bottom of the 3D image to two
2K images, in fact not even 2k but still lesser, 1.85, which is not DCI-compliant. “So, the image quality is heavily compromised,” say the experts. “If it is a large screen, as it is being propagated to be suitable to, the impact can be very disappointing,” they say. “It is however remains to be seen how the DLP Cinemas’ 4K system would fare.” “As the industry proceeds further in digital transition for 4K, all these matters will become very critical factors in decision making,” caution the experts. Are the solution developers hearing?
• TECHNOLOGY • The next generation DLP Cinema electronics platform, actually announced at ShoWest 2009, combines the three boards needed to produce images into a single board. The result is a lower cost solution to DLP Cinema`s three OEM licensees. The next generation DLP Cinema platform works seamlessly with over eight server solutions and multiple 3D platforms. The standard 2K DLP Cinema projection technology has notched up, as per the latest count, around 11,000 screens across the globe, and around 5,000 of them offer digital 3D. That the large format projection major Imax too partnered with DLP for its Imax digital systems has been a significant propellant for the solution developer. The latest install count of Imax digital is said to be inching towards the three-figure mark. After TI took the industry in its stride with its 2K standard, its challenger Sony opened a new chapter with aggressive
and ambitious initiative for 4K digital- so much so that the DCI, which initially had standardised only 2K, had to acknowledge the new "raised standard" and expand the specs. On the other hand, with some big, across-the-circuit deals, Sony has practically validated the 4K standard though it had its own share of contempt- leading to a sort of digitally divided entertainment world. Having already divided over 2K and less than 2K, the Hollywooddominated exhibition industry got the world into its stride with the 2K format keeping a significant chunk of 'below2K-exhibitors' away from the Hollywood content. The cinema exhibition industry is in for yet another debate. Europe, though getting aggressive of late - thanks to the efforts of State-funded facilitators - is yet to take off for the 4K adoption, if not the debate itself. Asia, on the other hand, having always been on simultaneous mode with the US, had already demonstrated its 4K intentions with Singapore-based Cathay Cineplexes doing an all-Sony 4K-multiplex last year.
'Wider, Variety and Value: 4K' In the midst of all that heavy debate, TW caught up with Nancy Fares, Business Manager-DLP Cinema, and Tomy Adomson, Worldwide Customer Marketing, DLP Cinema, at CinemaExpo 2009 in Amsterdam, to know more about DLP's 4K offering. Building upon the platform of credibility and reliability, DLP is now expanding the variety in technology, they assert. Excerpts: On why the 4K initiative… Exhibitors should have more choices. The 4K resolution is best and safe for very large screens sizing 25 meters or over 70 feet. Generically, we feel that the 4K is adding value to the high-end market. Cinema industry, in general, is not used to have lot of options- that is why you are hearing the concerns and apprehensions about the changing technology levels and standards of digital cinema. We will have the technology available by first half of 2010; our customers will have their projectors integrated with it by second half of 2010; it is going to be more expensive because it is a premium product and can be positioned for the high-end screens where the exhibitors are willing to pay that extra amount to give that 'premium image' to their screens. Having said that, we also have to say that the 2K technology that we have today is more than adequate. It is better than film and better than the 4K currently existing in the market. There is no need for people to worry about 2K, they can continue to enjoy movies in the existing model as well as invest in 4K. The DLP's 4K is an offering of widest options for the market- one, in sizes, two, in resolutions, three, in partners like 3D -
RealD, MasterImage, Dolby, XpanD etc - it is up to them, what they want to do. Same thing from the server standpoint, we want them to have wider variety of server manufacturers: Dolby, Doremi, GDC, Qube, and many such others. A combination with any of these players from either side would provide the exhibitors the best thing that had sought for, depending on their budgets. On upgrading the existing 2K systems with 4K… 4K is not a replacement product, and I think this is where the confusion is coming from. People think that 4K is going to replace all the 2k systems. Not really. Because 2K, and 4K are both DCI standards. Both of them will co-exist. You pay more for the 4K, put it up on very large screen for the premium offering. But for the majority of the existing and the new screens, you have an incredible experience with 2D or 3D in 2K. We strongly believe that existing 2K is more than adequate, and it is going to be the majority of the screens worldwide. People who have invested in 2K have no reason to go for 4K, as they are absolutely happy about it. Now, for the very large screens, and those coming up in future, they might want to upgrade or make it more premium, they can go for 4K. So, may be after few years, 70-80 per cent of all screens worldwide will be 2K, and the rest of them will be 4k.
• TECHNOLOGY • The Green Digital Cinema? Even as the digital cinema solution developers, compete for market share, the ‘green’ concern that is sweeping across the globe is now showing up on the big screen too. The simple fact that the higher the resolution, the higher the amount of heat generated by the projector means that 4K projectors release / generate higher degree of heat - i.e. consume more energy - and thus release more carbon. So, here is a case of eco‘logics!’ DLP projectors reportedly use 3kw bulbs - though they can go up to 7kw - in their digital projectors while Sony is said to be using 4.2kw bulb for their projection solution which apparently makes clear the amount of heat generated and the carbon footprint in either case. While this can be a serious 'green concern' as the industry moves ahead, there are other aspects that can make a difference, point out the observers.
Ideally, this is how it should be too. Simply because the cost dynamics, let alone the technology offerings, do not quite match up with the business. Everything about 4K is going to be expensive. On promoting 4K against a generic unwillingness of markets that believe 2K itself is expensive, and film is good enough… There are exhibitors who want 4k, for their premium screens and offering models, and they are willing to pay extra for it. It is a compulsion when you do not have a choice. But when you have a variety of options, say 12-15 projection systems, just like that of the film projectors, you can choose what best meets your requirement and budget. You can choose the cheapest, smallest most compact projector, and yet get out of it the best package of solutions, including 3D, or you can choose the largest 4K projector and offer all the options that come with it. The way look at it is that the availability of choices. Just like choices for consumers in other segments of the market, there should be choices for the exhibitor too. I think exhibitors will now have to think about what screen do they have and what best suits its size and patrons' expectations. On the marketing challenges with the world's largest chains going for competitor's solution… There are as many as 1,20,000 screens worldwide, and we have deployed 2K systems in about 11,000 of them already. So, the market size is too big. And, by the time, the said agreements of the large cinema chains with the current 4k model take off, DLP's model will be pretty much in place, and we hope they will consider this one
The amount of heat generated can impact the colour contrast ratio, impacting the quality of the image Higher energy consumption by the bulb can effectively reduce its lamp-life, thereby requiring frequent replacement- which is repeated cost (this is already evident in the market today) Higher energy consumption will result in higher costs - which at a macro-level can be significant and, even a questionable item on the balance sheets Exhibitors may not be able to charge higher admission rates based on their 4K projection system Since there is little difference (for a technical eye), between 2K and 4K, higher investments in the premium solution can be a potential question from shareholders
So, it is a question, as well as concern for the 'generation green!'
too. The second largest cinema circuit in the world, Cinemark, has already made an agreement that it will have DLP 4K. So, we are already there. In fact, I see the other way around. I see that DLP is going to be a challenge for the current model. They sought to raise the bar by bringing in 4K, now DLP raising the bar further with its own 4K, so, it's going to be a challenge for existing one. On the seemingly endless chase of technology from 1k, 1.3k, 2k, and 4k… Any technology company can raise the bar of technology. We could go to 8k too. But we don't see that as industry standard. Right now, the industry standard is for 2K and 4K. There is no standard for anything more than that. If someone talks about 8K, it's going to be extremely costlier, and availability of content is also highly impossible. It may be something like superHD, but that's not practical. What we have understood from the exhibitors over the past few years is that the cinemas faced with the challenges of Internet movies and i-phone content need to have very large screen with a wider variety of concessions and other offerings like luxury seatings. The 4K chip throws 10 per cent more light on the screen. This amount of light on the existing average screen sizes is too bright, if not very difficult, for the human eye. It can suit the screens of very large size like 100 feet, but again, the content is going to be key driver. The patrons are driven to the movie theatre not by their knowledge of the image resolution but by the quality of content, and the creative abilities of the moviemakers.
• TECHNOLOGY •
Doremi Takes the
The digital cinema industry is through a 4K high. While the projection manufacturers using DLP Cinema technology had been gearing up for their 4K versions, the server manufacturers have already gone ahead and made their servers 4K compatible. However, the DCI specification for servers requires all digital cinema servers to have the ability to play the 2K layer from a 4K digital cinema package (DCP). This allows the distributors to send a single file to all digital cinemas, whether they have a 2K or 4K projector. Doremi Cinema, the global leader of digital cinema server solutions, has maintained its leadership by coming up with what it calls the Intermediate Media Block (IMB) for 4K projectors- a product that can display 4K content utilizing a DLP Cinema® Next Generation Electronic Platform 4K projector. TW caught up with Jim Murray, International Sales Director and Guillaume Arthuis, Digital Cinema Product Manager at Doremi (J&G) at CinemaExpo 2009 in Amsterdam to know more on what Doremi is all about on 4K. Excerpts:
TW – What exactly is the Doremi Integrated Media Block 4K all about? J&G – (J&G) Doremi has had the ability to display 4K content for the past 18 months using our DCP-2000 digital cinema server coupled with our external MB-4K product. This solution works with the Sony 4K projectors. To come up with a 4K solution for DLP based 4K projectors, we only needed to redesign our existing 4K media block into an internal media block (IMB) so that it could fit inside of a DLP Cinema® Next Generation Electronic Platform 4K projector from their OEMs. We have been working with Barco and Christie to ensure compatibility with their new 4K projectors. The IMB will be built into the system by replacing existing SD/HDI interface with all the security features currently available and more The system will still utilize an external show control and storage unit we call ShowVault TW – There is duality of market perception- one is all gaga about the 4K while the other is dismissive of the same in favour of 2K. What's Doremi's view? J&G – At Doremi Cinema, our goal is to output the best possible image from our server whether it is 2K or 4K. The 2K vs. 4K debate is completely subjective which is why we have products to match each individual cinema owner's desire. The value of a 4K presentation starts at the capture and post production stage. If the movie is shot on 65mm or is captured at 4K resolution with a 4K post production
Guillaume Arthuis, Digital Cinema Product Manager and Jim Murray, International Sales Director, Doremi
work flow, the 4K picture on screen will be beautiful. Today, it is generally cost prohibitive to do either. With 4K packages currently being delivered, you will benefit if you are targeting very large screen sizes, and the first rows of the auditorium., Otherwise, in a generic sense, it is difficult to differentiate between 2K and 4K. TW – The other players in the market already claim that their systems are 4K… J&G – There is a very fine difference here. Being able to play from a 4K package is one thing, but actually playing out and displaying in 4K is the other. (In fact, one of the
mbits per eye, and the quality is very good. For 4K, the required compression will be too big which the human vision may not take. So today, it is better for the human vision to stay in 2K as far as 3D is concerned. TW – When exactly Doremi will be ready with the 4K solution?
important specifications of the DCI specification has been the compatibility of the digital systems with both 2K and 4K). All the server manufacturers in the market today are able to play the 2K layer of a 4K package and it is displayed in 2K resolution! They don't have the technology to display 4K content in 4K. Only Doremi, today, has the technology and capability to play and display 4K content for either Sony projectors and DLP Cinema® Next Generation Electronic Platform OEM projectors.
J&G – As mentioned previously, we have had a 4K solution for quite some time. As for availability of our IMB-4K, we have already delivered a working media block to Barco which has been validated in their DLP Cinema® Next Generation Electronic 4K Platform. The only difference between the existing offering and the soon-to-be-launched one is the existing solution is externally attached to the server, while the new solution would be integrated internally into the server. The new IMB-4K will bring the additional advantages of better security and integrity with the system.
TW – Then how about the 3D content in 4K? Does Doremi server solution enable playing 3D content in 4K? J&G – (J&G) Three-D does not make sense to play in 4K for quality reasons. DCI specifies certain bitrates for each of the model, and the available format of bitrates qualifies for 3D content display in 2K projection only. The specs for 3D projection in 4K resolution are yet to be determined. If you look at the 3D screen, you have bigger compression because you have two signals in two streams (for two eyes) in the same package. In 2K, it already took 125
â€˘ TECHNOLOGY â€˘
The Myth of 3D In 4K As the industry exhibition seeks an increasing inclination towards 3D digital, and 4K there is an equally intriguing hypothesis of a 3D digital cinematic picture shown in 4K. Since the emergence of the phenomenon, there has been an unending debate and a fair degree of contempt too about the feasibility of the technology, particularly relating to 3D digital. Though the generic impression across the technical community is not in favour of 3D digital in 4K, there appears an unqualified enthusiasm, if not confusion among the exhibition communities worldwide. Here is an attempt to demystify the supposed myth of 3D digital in 4K. J. Sperling Reich
Section 4.4 of the DCI document specifies By establishing a minimum set of the maximum size in bytes of every requirements the DCI specification was frame of footage allowing for a meant to help clear up many of the maximum compression rate of 250 Mbits/ uncertainties surrounding digital cinema second. DCI felt smaller bandwidths technology, though presently there seems might cause too many visual artifacts to be more questions than ever being (such as pixilation) and anything encoded asked about 3D digital projection, at a higher bit rate would produce files especially when it comes to 4K. In sizes whose bandwidth was too February, 3D technology provider RealD 3D DIGITAL cumbersome to transport and playback. announced a partnership with Sony that As a point of reference, most MP3s of enables the manufacturers 4K projectors popular music which can be purchased to throw images onto silver screens as on Amazon or iTunes are encoded at 128 large as 55 feet wide. Then, in June, Texas or 192 Kbits/second producing tiny file sizes that allow for instruments revealed they were working on a 4K DLP 10,000 songs to be crammed onto personal music players. chip. Such news gave pause to theatre owners who were thinking of installing digital cinema equipment solely for Then, in a July 2007 addendum to the spec, DCI explains the purposes of showing 3D titles. the requirements for a "Single Inventory of Stereoscopic Digital Cinema Packages (DCP)". This is the same Would the 2K equipment they were thinking of purchasing requirement as non-stereoscopic DCPs. The JPEG2000 for 3D be obsolete or inferior to similar products with 4K compression algorithm used to encode DCPs is what technology? Should they wait for more manufacturers to enables a single inventory by allowing a 2K image to be release 4K equipment capable of projecting 3D images? extracted from a DCP mastered in 4K. While keeping all The answer can be found within the lengthy DCI spec itself of this in mind, another variable needs to be thrown into and in simple terms is - NO. There is no standard for 3D in the mix; image resolution. A 2K image can be either 2048 4K and no technology that can deliver stereoscopic content pixels wide or 1080 pixels high. Double those numbers at such a high resolution. It is unlikely that such technology for 4K images (4096 pixels wide or 2160 pixels high). will be developed in the near or even distant future. Compressing those 2048 pixels (or 1080 pixels) on each The longer explanation as to why delves into issues that frame at a bit rate of 250 Mbit/s produces a 2K image may not be suitable for the technically faint of heart. that is arguably comparable to what 35mm projectors Meaning, they are not easy to explain or understand. In a deliver to movie screens. This is also true when squishing June post on Digital Cinema Report that adeptly reviews the 4096 pixels (or 2160 pixels) down to a manageable these complications Michael Karagosian, of MKPE size using the same 250 Mbit/s bit rate specified by DCI. Consulting put it best by describing the quandary as "the Now what must be considered is that for 3D each frame natural limit in [the] resolution of 3D images". of film in any given second must be encoded twice, The DCI spec does not include 3D system requirements doubling the amount of information (in bytes) that needs and focuses instead on 48-frames-per-second to be present, yet the bit rate of 250 Mbit/s does not functionality; 24 frames for the left eye and 24 frames change. Put another way, this means that every pixel of for the right eye for every second of film. Every frame of every frame gets 1/2 the amount of bandwidth when film has specific requirements in how it is to be encoded. TW-24
• TECHNOLOGY • being encoded for 3D. Think of it as the image for the left eye being encoded at 125 Mbit/s and the image for the right eye being encoded at the same bit rate. Obviously the quality of each image decreases. Applying this same theory to 4K images, which even without 3D have four times as many pixels as their 2K counterparts, it is easy to see that the bit rate for each pixel of every image would drop to a 1/4 that of a 2K image. Adding 3D to the mix would naturally double the amount of information and lower the bandwidth per pixel to 1/8. This is why DCI specifies the 48 FPS rate only with a 2K image resolution and a 24 FPS rate for 4K. "Standards for 3D in 2K are defined by SMPTE," says Reiner Doetzkies, Director of Technology DLP Cinema at Texas Instruments when asked about the potential of 3D in 4K. "We don't even have a 4K format to do 3D". Of course, everyone fears that DCI will redraft their specification, despite the organization's insistence that they won't. Even if DCI were to double the bit rate to allow 3D in 4K, equipment manufacturers would not be immediately ready to meet the new spec. "As far as what the 4K projector can do for 3D, it can bring in 2K per eye and it will blow them up to 4K," says Doetzkies of the 4K chip TI is developing. "The entire 4K imager will be used but it will only be effective 2K." It is important to note 3D DCPs will only be in 2K as Brian Claypool, a product manager at projector manufacturer
Christie points out, "It will still be a 2K master but it will be upressed to 4K, just like a 2K master is today on a Sony 4K projector." Speaking of Sony, the manufacturer uses its 4K chip in combination with a special lens configuration to present two 2K images simultaneously for the left and right eye. This method is referred to as "over/under" because the two images are placed vertically from top to bottom on the SXRD chip and projected through a dual lens setup which includes a special prism. Sony believes one benefit of presenting simultaneous left eye/right eye images over DLP's "triple-flash" method, is that it will cause less eye strain for viewers. So, until DCI changes the specification to allow for 3D in 4K it seems all stereoscopic content will be projected with 2K resolution. According to Claypool, theatre owners should feel confident that whatever digital cinema equipment they purchase today will provide them with the highest resolution possible when it comes to 3D, "There is no reason to wait for 4K to do 3D because it will look exactly the same as it does today." (J. Sperling Reich is a Los Angeles-based consultant at Datasat Digital Entertainment (formerly DTS), and is also the Co-Founder & Co-Editor of Celluloid Junkie focused on motion picture exhibition and distribution. TW thanks the author for his support. He can be reached at email@example.com)
...contd from page TW-18
Dolby, Arqiva Join Forces More, satellite model offers the opportunity to deliver many DCPs to multiple destinations simultaneously whereas fibre doesn't; it needs multiple fibre channels to multiple destinations and can send only one DCP at a timewhich is why it is a manually-intensive process. In the given circumstances, satellite is the best option, and Arqiva, as one of the major communication technology players, has built its core competencies in this domain. All these factors obviate the choice of satellite-based delivery model. On the advantages of collaboration… Dolby will use Arqiva network to deliver digital content to cinemas across the region. Dolby is proven and competent supplier of technology solutions to the entertainment industry, and Arqiva is an established player with well-defined communication infrastructure. The combination of our expertise will bring into play a higher level of content delivery that is cost-effective for the exhibitors and more entertaining for their patrons. We rightly predicted the dynamics of the industry from the time it began its digital journey. We knew the hard disc-based delivery would not last long, and a secure and sophisticated delivery model like satellite only would do. At the moment though people are talking about fibre network and alternative content, neither is happening
the way they are expected. Around 18 months ago, we saw the delivery mechanism beginning to shift to a higher level with satellite technology. Satellite network, unlike the fibre, can cover large territories and does not have the challenges that are normally faced by the fibre. For Europe, as it is, is an extremely fragmented market; it cannot be treated like that in the Americas and Asia. So, a network that is already spread over the region, and does not demand incremental costs and complications was necessary. Arqiva, apart from offering an integrated service and flawless delivery mechanism, is a professional platform. On enabling beaming of alternative content… Arqiva platform is capable of delivering such content as live or recorded events to the cinemas. Arqiva provides the network architecture infrastructure for any media content that our partners like Dolby churns out, and the exhibitors are willing to play. On number of installs… Currently we have 64 sites, and we anticipate to have anywhere between 250 to 300 sites across the continent by the end of the year. As of now, we are focussed on Europe, and once we believe we have established the critical mass in the region, we would explore opportunities outside. October-December 2009
â€˘ SPECIAL FEATURE â€˘
World's First Non-Commercial National D-Cinema Roll-Out
Digital 'Kino'Scope As the motion picture exhibition industry continues its transition towards digital entertainment, more and more geographies across the global cinemascape are joining the movement with renewed enthusiasm. Thanks to the State-powered initiatives- even as one small country in the Far East continues its efforts for the world's first nation-wide digitization of cinemas, another small nation from the Nordic territory took the cue. Notwithstanding the debate on 2k or 4k, the world cinema, clearly, is fast transitioning to digital mode. Big things often come in small packages they say. Exactly a year ago, Theatre World reported one of the biggest things in the global exhibition industry taking shape in small country - Singapore - in the Far East, with a government given thrust for 3D digital entertainment across the country. The initiative in fact took off in style with what was hailed as the world's first 3D digital film festival- the 3DX, and the country's four major exhibitors gearing up under the aegis of the Stateowned Media Development Authority (MDA) and Infocomm Development Authority (IDA). (Read TW, September 2008) A year later, even as the South Asian country continues to pursue its 3-dimensional digitization initiative counting on about a dozen 3D screens, the enthusiasm is reciprocated by another pint-sized nation, from the other end of the world, and in a different perspective altogether. Film & Kino, the Norwegian interest organization for cinemas, announced what is claimed to be the world's first non-commercial complete national digital roll out initiative in association with five of the seven Hollywood majors. The studios taking the honour include Twentieth Century Fox, Walt Disney Studios Motion Pictures International, and Warner Bros. Pictures International, and Paramount Pictures and Universal Pictures (through their local distributor in Norway United International Pictures). Film & Kino has served the Norwegian cinema industry for over 90 years, and is proud to announce multiple studio agreements in Norway. This complete digital roll-out will transform all of Norway's TW-26
cinemas, big and small, to modern DCI-compliant digital cinema houses. The roll-out will start in late 2009 after the completion of public tenders for the procurement of equipment and services required for the digitization process. "This is a great undertaking for a small country," said Jorgen Stensland, Director of Consultants at Film & Kino. "Under these agreements, Disney, Fox, Paramount, Universal, and Warner have committed to deliver wide releases to Norwegian digital cinemas. The deal also covers our own mobile cinema in rural areas. Film & Kino's goal of delivering quality film all over this country is secured in the future by these agreements," he said and added: "We are happy that Norwegians will be able to experience the perfect quality of a DCI-compliant digital exhibition, which will also give our audiences the opportunity to see the new generation of 3D films that are underway."
Singapore, though began its initiative ambitiously, is yet to see the completion of its vision. As against a total of about 130 screens, the IDA-MDA jointinitiative has reportedly seen some dozen screens turning 3D digital. The important point here, however, is that the initiative could bring all the four major exhibitors - Golden Village, Eng Wah, Cathay and Shah - under the 3D digital fold, and the 3D digital movie festival is a ten-year annual programme. Should the programme continue the way it is intended, the day of Singapore cinema exhibition industry converting completely into 3D digital may not be a distant reality. Given the fact that the initiative could bring Golden Village - the largest exhibitor on the island, and the one who had been defying digital transition all against the global euphoria - onto the 3D bandwagon, it may be only a matter of time before one can see a totally 3D digital exhibition industry.
The agreements will help facilitate financing of the conversion of all the cinemas in the Nordic country to digital cinema. The costs of conversion would be shared between distributors, cinemas and Film & Kino. Film & Kino is the industry organisation for the Norwegian cinema and video industries and takes care of the interests of Norwegian municipalities as regards cinema, managing movie theatres and video activities. The organisation administers the Norwegian Cinema and Film Foundation and also runs the Mobile Cinema and the periodical Film & Kino.
â€˘ SPECIAL FEATURE â€˘ "A success like this is the result of a great team effort," said Roar Svartberg, Acting Director of Film & Kino. "We want to thank our team members for their unflagging commercial, technical and legal support during these negotiations."
Duncan Clark, Executive VP, International Distribution, Universal Pictures International, said: "We're pleased to be Norway working with Film & Kino to help the Norwegian cinema industry transition to digital cinema via our UIP territorial office in Norway. Clearly the growth of 3-D Roger Pollock, Paramount Pictures' Executive cinema and digital distribution is the future Vice-President, International Distribution & of our business and this complete rollout Operations, said "Digital distribution and the of digital to Norway's cinemas, which has growth of 3-D cinema is the future of our the backing of the Norwegian industry, enabling films to be seen in the highest government, is an important step. Norway quality and most dynamic ways possible. Film is the latest country to become part of the & Kino is aggressively stepping forward to extensive conversion to digital that is place Norway at the forefront of this being rolled out to cinemas in Europe. By supplying our technology, providing their audiences with the very best movies digitally, we hope audiences in Norway as early as movie-viewing experience available. This is an important step later this year, will soon be able to experience the highest in Europe's roll out to digital conversion and will hopefully quality cinema experience via the best digital technology serve as an influential example across the region." available." Julian Levin, Executive Vice-President, Digital Exhibition, Commenting on the announcement, Jason Brenek, Senior Twentieth Century Fox commented "We are delighted to Vice-President, Worldwide Digital Cinema and Cinema have closed a deployment agreement with Film & Kino. Programming, Walt Disney Studios Motion Pictures, said, This important deal is the first of its kind covering the "digital cinema is taking a giant leap forward in Norway conversion from 35mm film to DCI compliant digital thanks to the tremendous efforts of Film & Kino. This is a projection for the entire country. The transition to a digital bold and exciting move to transform all of Norway's theatres projection platform will additionally provide the foundation to state-of-the-art DCI-compliant equipment and give for 3D exhibition capability, exhibition of alternative moviegoers the best possible theatrical experience. Disney content and improved flexibility in distribution and remains committed to digital cinema and digital 3D, and exhibition operations. The ultimate beneficiary of the will continue to work with Film & Kino to bring the future of transition will be the movie going audience. We look exhibition to moviegoers in a timely and cost effective forward to working with our colleagues at Film & Kino manner. Our lineup of upcoming films includes a wide variety during the transition and providing Fox's movies, in 2D and of titles that showcase this latest digital technology, including 3D, to Film & Kino digital projection system deployments." many films presented in Disney Digital 3D."
â€˘ CINEMA SYSTEMS â€˘ Projection Series - XXVI
The Working Environment It is not easy to generalize about matters such as the working environment, working relationships, training or assessment in the cinema industry, because practices and policies vary widely between cinema chains, and because the industry is frequently confronted by the need to change. To be successful with the job, in tune with the changing demands of the time, the projectionist needs to understand the environment in which he is required to work. The work environment connotes not just the physical circumstances of the work place but also the working relationship with cinema owner/managers, training and upgradition, and issues of health, as well as legal importance. Legend has it that in the times gone by projectionists were loners by inclination and consent. They apparently saw themselves as highly skilled soloists who were indispensable to the screening of films. You learned on the job, by observing and copying a very experienced and skilled operator, over several years. Your work schedule was organized by 'management', who were often themselves former projectionists, and you stuck rigidly to it. Because each cinema could show only one film at a time, there was no need to work in teams. The only other projectionists you were likely to know worked for the same company. Whether or not this is a true picture of the past, it almost
In the concluding part of Unit-VI, published in the last issue we discussed various aspects of audio-visual screenings done in the movies halls before the beginning of the movie screening and during the intermission. In this issue, we begin with Part-I of Unit-VII, to discuss the work environment that the projectionists get engaged with as part of their job, and few measures how it can be made better towards overcoming the periodical challenges.
certainly will not serve as a description of the way things are done in the modern days, nor of the shape of things to come. How different they are will depend on one's organization and its attitude to change. Very few cinemas now are technically limited to showing one movie at a time, so projectionists often have to cope not just with the technical challenge involved, but also with some degree of team working. In the larger multiplex operations, projectionists are expected to be very flexible about where and when they work, to cope with unexpected changes in schedules. In some organizations, the very name of the job is changing, from projectionist to technician. Some organizations are recruiting managers not from the shop floor, but from the ranks of trained and experienced business people outside the industry. Projectionists are now in touch with one another across company boundaries, through professional association structures. Apart from changes which result from commercial pressures and technology within the long-established cinema chains, there are changes worldwide in patterns of ownership of cinemas, which may have a dramatic effect on what projectionists do in future. When television took over the role of the mass entertainer, it was widely assumed as sounding the death of the cinema. Later, the same was claimed for home
• CINEMA SYSTEMS • video, which made cinema films available without the need for cinemas. But quite the reverse has happened, and more people are flocking to cinemas for a night out than ever before. This had indeed attracted new investors, as a result of which, the fairly stable patterns of ownership that have been in force for many years began changing quite dramatically, and may well change even more in the near future. In the other industries around the world, there had been a general move away from traditional patterns of work based on hierarchies, which has often been very beneficial. The new so called 'flat' organizations work by regarding all the jobs people do as important, encouraging flexibility of working, working in teams and reducing the notion or rank. Some think that applying this idea of team working in the cinema is a passing fad, imported along with other management fashions. Others think that projectionists have been doing it for years anyway, and there are some who think it actually makes a lot of sense.
natural habitat is the projection room, then he is at a loss. When it is necessary to liaise with others, the projectionist will be at a disadvantage, because they will not necessarily understand the projectionist's needs and reasons for such needs, and even what right the projectionist has to ask for such fulfillments. If, on the other hand, the projectionist does work as a team player, the others on whom he depends may be much more inclined to help.
Here are some clues:
There are in fact very few jobs that one can do entirely on one's own, at least to earn living. When a film is being screened, the projectionist may be physically alone, but even in the smallest independent cinemas there will be others- 'front of house,' perhaps a manager, perhaps even a trainee projectionist. In the larger multiplex cinemas, there will be chief projectionists, assistant projectionists on the same or other shifts and other ancillary staff. When there is no movie screening, the projectionist will have to liaise with service engineers, handymen, delivery and dispatch workers, film renters and many others. So, the projectionists are certainly not alone!
Help others to understand your job
Try to understand other people's jobs
Explain the common purpose
Take pride in your job and encourage others to do the same.
Be prepared to take over another person's job if the occasion demands
Communicate effectively with others
Do not stress rank, or authority
A team, however, is not a committee. Teams are small groups of individuals - players - with a common purpose, led by a leader. In some companies, production had been revolutionized by changing from the old mass production method put in place by Henry Ford where each worker does just one job, for life, to team working, where the entire building of each car is the responsibility or a dedicated team. Who does what within the team is up to the leader, who is trained to be leader.
Help less experienced colleagues
Be friendly and patient with all colleagues and suppliers
Do not stay in the projection room all the time
In the case of movie screening the natural team leader must be an experienced projectionist chief projectionist. This principle often sounds redundant in that most cinemas do have this practice already. However, there can be minor differences from place to place depending on the work cultures that are cultivated. The people the projectionist works with may not see the projectionist as a team player, nor may they always be aware that all contribute to a common purpose. But in reality, everyone in the team needs the other to make sure that the audiences who are common to all cinema team get to see the right film at the right time, under the best conditions. Because practices vary so widely in the industry at present, the relevance of team working will also, vary. Perhaps in general, the real relevance is in personal terms, in how the team members perceive one another. If the projectionist sees oneself as an isolated figure whose
Apart from the theory, the projectionist should find that team playing makes the job easier. If the front-of-house staff is favourable to the projectionist, then they will report anything going wrong in the auditorium, such as poor sound, or a dirty print. They can also alert the projectionist to secondary lighting failures or other potential safety problems. The projectionist may be able to get help from his chief or manager when chasing technical details or delivery problems with the renter, and so on. Above all, whether team working is formalized or not, the projectionist has a key role in encouraging good working relationships. This does not mean that the projectionist has to like everyone he works with, or that they have to like the projectionist, though both may help. What it does mean is that there is mutual respect in the workplace, that communication between individuals is effective and civilized, and that people will help each other out willingly in order that the show goes on. (To be Con’td)
ShowEast 2009, the 22nd annual convention and tradeshow for the motion picture exhibition and distribution community in the East Coast of the Americas will be held from 26-29 October, 2009, at the Marriott Orlando World Center in Orlando, Florida. This year's event assumes significance in that it seeks to plug in the uncertainties such as the recession blues, waning industry interest, and shifting the venue to Miami. The four-day annual event was earlier mooted to be shifted to Miami for better addressing the industry needs and bringing in wider participation. However, Nielsen Film Group - the event promoters - later decided to stay with Orlando. "After carefully considering the options presented in both Orlando and Miami, it was decided that, for several reasons, we would not be able to put on as successful a show in Miami as we could in Orlando," declared Robert Sunshine and Mitch Neuhauser, the top executives of the event. The decision not to move ShowEast was made with the industry's best interest in
26-29 October Orlando World Center Marriott, Orlando, Florida
mind, they said, adding, that the Orlando World Center Marriott has been refurbishing its guest rooms and adding more facilities, the event would be better and more enjoyable at the same venue than moving elsewhere. ShowEast, as it is, promises to provide the motion picture industry with the perfect place and opportunity to gather, and share ideas and information on the current and future state of the industry. It also promises to be a platform for distribution professionals to network with customers and all the major cinema equipment and concessions manufacturers, suppliers and distributors. In line with its practice of over 22 years since its inception, the ShowEast event fare, this time too, include: "
Screenings of new movies
Product reel presentations of upcoming movies
Sponsored food events
Technical sessions on issues concerning issues
MPA Anti-Piracy Award
Product demonstration Suites
Show "E" Award
Salah M. Hassanein Humanitarian Award
The Kodak Award
Al Shapiro Distinguished Service Award
Dubbed to be 'sister event' of ShoWest, ShowEast 2009 promises a continuum in the momentum built up by ShoWest in March 2009 by coordinating meetings with business associates, working with existing vendors and finding new ones at the tradeshow and continuing industry education along with a host of opportunities to enhance business. The event also boasts of facilitating smart purchasing and programming decisions for the participants to last the entire year. An estimated 1200 professionals from across the industry spectra of theatre operators/owners, movie buyers, distributors, concessionaires, theatre design/construction professionals, equipment manufacturers, marketing/ media professionals and advertising agencies would participate in ShowEast 2009. The four-day event will be crested by a grand finale of awards ceremony that recognises and honours significant contributions made by the industry professionals in various areas of activism. The awards include: "
International Achievement Award in Distribution
International Achievement Award in Exhibition
This year, Stewart Harnell, CEO of Cinema Concepts, will be honoured with the 2009 'Show 'E' Award.' Harnell will be awarded this distinguished honour on Thursday evening, October 29 as part of the final night banquet and Awards Ceremony. "Throughout his career, Stew has achieved enormous success with his award-winning production and postproduction studio offering the latest innovations in 35-mm motion picture film, digital cinema and 3D stereoscopic technologies," noted a communiquĂŠ from Robert Sunshine. The ShowEast International Achievement Award in Exhibition for 2009 will be conferred upon Mike Moraskie, head film buyer for Caribbean Cinemas. Moraskie has only been with Caribbean Cinemas since August, where he is responsible for acquiring and programming films in the company's 42 theaters throughout the Caribbean. The Salah M. Hassanein Humanitarian Award 2009, on the other hand, will be conferred upon Sonny D. Gourley, President-film, at AMC Entertainment Inc.
Exhibitors List ACS Enterprises ............................... 521
Inorca Seating ................................. 621
RCM Media ...................................... 820
Advanced Specialty ......................... 305 Barco-Digital Cinema ...................... 401
International Cinema Equipment . 416 International Cinema Technology . 522
Ready Theatre Systems .................. 524 Retriever Software ......................... 619
Benning Construction ..................... 616 C Cretors & Co ................................. 809
Irwin Seating Company .................. 713 Jack Roe USA ................................... 714
RGS International ........................... 113 Ricos Products Company ................. 709
c-cinema-components & media ...... 306 China Cinetech ................................ 519
JBL / CROWN .................................... 901 K.C.S. (Kelonik Cinema Sound) ...... 404
Schneider Optics ............................. 906 Schuettler-Technik GmbH ............... 413
Christie Digital Systems ................. 813 Cinedigm Digital Cinema ............... 905
Kernel Seasons ................................ 209 Kinoton America ........................... 1314
Seating Concepts ............................ 307 SLS Audio ......................................... 425
Cinema Concepts ............................ 821 Cinema Equipment & Supplies .... 1312
Konica Minolta ................................ 207 MARS Snackfood US ........................ 613
SOLO CUP ......................................... 903 Sony Electronics ................ 100/101/ATL
Cinema Scene .................................. 620 Cinemeccanica SPA ......................... 712
Martek Contracts ............................ 512 Mobiliario SA de CV ....................... 507
Stadium Savers ................................ 304 Stadium Seating Enterprises ......... 617
Coca-Cola Company ........................ 701 Connie's Pizza ................................. 518
Moving Image Technologies .......... 213 NEC Display Solutions ... 600/601/SUITE Nestle USA ..................................... 1304
Tempo Industries ............................ 412 The Hershey Company ................... 301
Crosspoint Fabrics ........................... 716 CRU-Dataport - Wiebetech ............ 517 D-BOX Technologies ....................... 212 Doremi Cinema ............................... 801 Embedded Processor Designs ........ 205 Eomac ............................................... 514 Franklin Designs ............................. 308 Gehl Foods ....................................... 417 Gold Medal Products .................... 1308 Golden Link ..................................... 201 Greystone International ................. 300 Harkness Screens ............................ 718 High Performance Stereo ............ 1300
Omniterm Data Technology .......... 606 Osram Sylvania ................................ 400 Parallel Media ................................. 725 Philips Specialty Lighting ............... 612 Photo Research ................................ 819 Posiflex ............................................ 418 Prime Ticket .................................... 818 Proctor Companies ........................ 1302 Promotion In Motion ...................... 807 Qsc Audio Products ......................... 501 Qube Cinema .................................. 513 Radiant Systems .............................. 313
TW - TheatreWorld .... Pub bin Titan Technology Group ................. 913 Tivoli LLC ................................... SUITE M TK Architects .................................... 719 Tootsie Roll Industries .................... 720 Ultra Stereo Labs ............................ 407 Universal Cinema Services ............. 618 VIP Cinema Seating ........................ 419 Vista Entertainment Solutions ...... 808 Vistar ................................................ 520 Winters Janitorial ........................... 615 ZhetaPricing .................................... 516
CINEMA EXPO 2009 The 2009 edition of Cinema Expo, the largest convention of the European motion picture industry, was held at the RAI-Amsterdam, in the Netherlands from 22 to 25 June. Into its 18th year in the running, the event, this time, was significant on two counts. One- it was 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 the digital stakes began flying high across the continent. The main event, as usual, was preceded by one-day seminar sessions by International Theatre Exhibitors Association (ITEA) that focused on subjects concerning the European exhibition industry movement and its technology upgradition. Deliberations on digital cinema, and the 3D digital as usual, took their prominence. The event also proved a platform for the two different formats of 4K digital cinema to advocate their respective merits.
Programming The programming of the four-day event was expectedly packed with subjects that sought to address the industry's most concerning issues: riding over the recession; 3D digital transformation; alternative content; and challenges of global piracy. The special attraction of the convention this year was what had been promoted as CinemaExpo's First Interactive Challenge. The first session of the event, held on the morning of 22 June, comprised two groups led by Crispin Lilly, VP-Business Services, and Matt Eyre, VP-Operations at Cineworld. The two groups vied head to head for the title of 'CinemaExpo Interactive Champs 2009.' The day's sessions was marked by a pre-lunch alternative content session on 'An Exhibitor's Guide to the Gallery: Movies and More via Satellite,' presented by Arts Alliance Media and XpanD, and a two-part post-lunch digital cinema session. The session on alternative content unveiled
what all the format can bring to cinemas to fill their halls, while that on digital cinema debated the latest trends in the domain. Part One had a seminar discussion on 3DDriving Digital Deployment-A Summary of Progress and Challenges in Europe,' 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.' Day two had one technical session, the regular cinema marketing seminar by Coco-Cola. Titled 'Profit by Design,' the seminar, presented by the beverage giant's DirectorInternational Cinema Barry Jones, the session broached several aspects relating to turning cinemas into profit centres by means of inviting ambience and alluring offerings. Day three, on the other hand, had one very important session, on 4k digital cinema. Presented by Sony, and titled Sony CineAlta 4k: 'Solutions for Digital Cinema That Truly Differentiates the Movie Experience,' it was a virtual platform for the cinema major for advocating its
TW on display at CinemaExpo venue 2009 (left); the movie promos at the event (right)
fancied format. The rest of the event programming was full of movie screenings and product reel presentations.
Dolby 3D which was followed by the cinema major's product line-up for 2009 and beyond. Day three opened with Warner Bros.' movie Orphan, while the rest of the day belonged to Walt Disney with the cinema major presenting glimpses of its upcoming 3D movie releases in the afternoon, and following up with the screening of 'UP' in 3D in the evening. Day four had two movie screeningsDisney's The Proposal, and Sony's The Taking of Pelham 1 2 3 in the pre- and post-lunch sessions respectively.
Movies: Day one had two movie screenings - Paramount Pictures and DreamWorks' presentation 'Transformers: Revenge of the Fallen' in Imax, and Summit Entertainment's Bandslam. Day two opened with Sony Pictures Releasing International's The Ugly Truth, and 20th Century Fox International's Ice Age: Dawn of the Dinosaurs shown in
STALLS AT CINEMA EXPO
AUTUMN 2009 OCTOBER 26-29 SHOWEAST, FLORIDA, USA www.showeast.com
WINTER 2009 DECEMBER 8-10 CINEASIA, HONG KONG www.cineasia.com
SPRING 2010 FEBRUARY 12-14 CINEMA TODAY, HYDERABAD, INDIA www.cinematoday.in
MARCH 15-18 SHOWEST, LAS VEGAS, USA www.showest.com
MARCH 16-18 FRAMES, MUMBAI, INDIA www.ficci-frames.com
SUMMER 2010 JUNE 21-24 CINEMA EXPO AMSTERDAM, HOLLAND www.cinemaexpo.com
AUGUST 15-19 AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
AUGUST BIRTV, BEIJING, CHINA www.birtv.com
SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
Reinforcing moments: This year's event lived in its own with more than one defining moments. Three items in particular contributed to making CinemaExpo what it is. Walt Disney created a special pavilion on the tradeshow floor for the invitees to experience the master artistry and inspiration behind its much anticipated 2010 release Alice in Wonderland. A fairytale world of wonderment in its own right, the touring exhibition was the star of the tradeshow. The other star, of course, was none other than the most-hyped-ever movie Avatar. While the delegates had an enviable opportunity to interact with the Avatar creator James Cameron who appeared on stage to share certain behindthe-camera experiments of the movie, its hugely depicted graphical pictorials played the backdrop of the day two gala dinner. Most cinema pundits watching the programme acknowledged Avatar to be the biggest ever and most creditable movie experiment in history. The last session of the event was a doubly reinforcing in that it presented a unified voice of the exhibition industry titled: We're All in This Together: Innovative and Timely Ways of Marketing Our Theatres to the Moviegoing Audiences. Presented by DLP Cinema, the session brought forth four cinema exhibitors, from as many geographies, who turned box offices on the recession and returned with flying colours. Adnan Akdemir, CEO of Eurasia Cinemas; Youry Bredwold, senior manager-marketing, Pathe Cinemas; Helena Eklund, vice-president-marketing, SV Bio AB; and Fiaz Mahomed, CEO of Ster-Kinekor Theatres detailed who they managed to sail over the recession times and stayed profitable. Awards: Day three was marked by the all-important awards ceremony. This year's International Exhibitor of the Year Award was conferred upon Rupert Gavin, CEO of Europe's largest cinema exhibition company Odeon & UCI Cinemas Group. The International Distributor of the Year Award was presented to Daniel Frigo, EVP & General Manager, EMEA at the Walt Disney Studios Motion Pictures International, and the Cinema Expo Award of Appreciation was conferred upon Chas Evans, SVP, International Creative Affairs, Paramount Pictures International while the the International Director of the Year award was given to Pierre Morel who directed the movie Taken. The awards programme was preceded by felicitations to producer-distributors of movies that had grossed $100 million or more in the year. Tradeshow: A total of 79 companies showcased their product range at the tradeshow. Besides the regulars such as Dolby, DTS (now Datasat), Doremi, Christie, Barco, Sony, Strong, Kinoton, Strong, Jos Schnieder, USL, Harkness, Imax, Proyescon, Alcons, KCS, Figureas, Quinnette Galley, Gold Medal and Cretors, the new faces included Xpand, KDC, Real-D, Leadcom seating, Josper, C-Cinema Components etc. Prominent cinema majors like Harman Pro-JBL Professional, GDC Technology were conspicuous b their absence. New Products at CinemaExpo: CinemaExpo 2009 did have its own share of new product launches and upgraditons - with a fair share of digital cinema products - as part of the tradeshow. Most important of them included Dolby's new all-in-one digital screen server DSS200; Datasat (formerly DTS)'s new digital cinema playback interface DC20; Strong International's new digital projector pedestal; USL's new video convergence camera that aligns the digital projector; Doremi Labs' 4k intermediate media block; Alcons Audio's 'digital-cinema-ready' Pro-ribbon loaded sound sytem; Ushio's new DXL-12BAF lamp for digital projectors; and XDC's new CineStore Plaza theatre management system. New products other than digital cinema included C-Cinema Components' TLA LED lamps for cinema interiors; Compeso's cinema ticket ATM; Quick Sensor's Open Interactive service system; Quinnette Galley's new Diamond Class VIP seating; VCL Sound Experience's new Luis Wassmann series of 4-way, triamplified speakers; Phylips' xenon lamps; Proyescon's antitheft system; Vista's new Facebook Application; and PCO group's Kids Menu Tray of concessions. Golden Link brought the show, besides the Ice Age-3 promo items patentpending Cup Toppers for the forthcoming 3D releases.
entertainworld A New Cinema 'City'
Chon Buri - one the most beautiful territories of Thailand, some 100 km east of Bangkok - is known for many riches. Deriving its name from an ancient Sanskrit Jala Puri, meaning 'city of water,' the province geographically located in the Bay of Bangkok, the northern end of the Gulf of Thailand that is home to picturesque mountain ranges, fertile plains, and potential tourist spots, besides rich industrial entities- which is why it is next only to the Thai capital in economic output. This nature's bountiful setting has recently been rendered more enticing with an exquisite model of entertainment- the latest and most luxurious cinematic offering from SF Cinema City. Created as part of the Central Plaza, claimed to be one of the largest retail entertainment venues in the country, the latest cinema venture from the Bangkokbased cinema company is a cinematic city in itself. Entertain World presents you with a pictorial fiesta of SF Cinema City Chon Buri. October-December 2009
entertainworld SF Cinema City, Chon Buri Bangkok-based multiplex chain SF Cinema City's latest cinema venture in Chon Buri province is arguably Thailand's most fancied cinema today. Created as part of the 2400 million Baht-Central Plaza, the seven screen multiplex appear to be an adventure in architecture and cinematic splendour. The Central Plaza developed by the Thai realty major Central Pattana Public Company Limited (CPN) - in collaboration with Robinson Department Store and Carrefour - the 100,000 sqm-retail destination is anchored by as many as five speciality retail stores, including the 17000 sqmRobinsons, with over 200 retail shops and 50 food and beverage entities filling out the fivestory mega mall. The seven-screen SF Cinema City, created on the fifth floor, at a cost of 150 million Baht, is
practically the high point of the entertainment destination. Set in a very distinct backdrop of 'mountain view' and 'sea view,' the multiplex is hailed as one of the best designs ever experimented in the entertainment architecture domain. Designed by acclaimed Thai design firm 760i, the cinema's basic form of 'curve line' was apparently inspired by its very backdrop lush mountainous range on one side and the blue sea waters on the other forming a sort of a curve.
town's landscape. As if to relive the province's 'watery' title, the designer incorporated a 'Miracle of Water' theme with stunning combination of different fountains and waterplay decorations. Space and style characterize the 5300-plus square meter cinema with seven screens and 1826
The external setting has been sought to be matched by some ingenious and innovative interior design with a transparent skylight and glass faรงade formulating pleasured shopping ambience with natural light and enjoyable October-December 2009
entertainworld illuminated with diffused lighting to add lustre to the aromatic ambience.
seats. While attractive promos grab the attention right from the ground floor, huge electronic displays entice the shoppers once they step on the fifth floor. An expansive lounge with movie mood setting dĂŠcor of pleasant colour theme and electronic displays, centered by a guest service counter will welcome the movie lovers inside what can be argued to be one of the most spacious and lavish concession counters in the country. A combination of deep brown, orange and pale beech hues is
The deep brown colour theme is apparently made like a matrix with shades of the same swaying through cinema corridors, and flowing into the auditorium interiors that are made to look different with intercepting waves and columns. The plush seating comforts are complemented with wall-to-wall screens and state-of-the-art sound and projection system including the DCIcompliant 2K digital. The cinema features an exquisitely designed VIP
lounge that is characterised by speciality services for the discerning premium movie patrons. With a great spurt in the blockbuster releases and box office fortunes in the country, the SF Cinema City at the Central Plaza Chon Buri is an exciting movie fare in this potential town.
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 Whip It
Law Abiding Citizen Production Fox Searchlight
Production Overture Films
Director Drew Barrymore
Director F. Gary Gray
Starring Ellen Page, Marcia Gay Harden
Starring Gerard Butler, Jamie Foxx
Genre Action, Comedy
Genre Psychological Thriller
The Stepfather Production Columbia Pictures
Production Screen Gems
Director Ruben Fleischer
Director Nelson McCormick
Starring Woody Harrelson, Jesse Eisenberg
Starring Dylan Walsh, Sela Ward,
Genre Comedy, Horror
Genre Horror, Thriller
Production Universal Pictures
Production Fox Searchlight
Director Peter Billingsley
Director Mira Nair
Starring Vince Vaughn, Jason Bateman
Starring Hilary Swank, Richard Gere
Genre Biography, Drama
F U T U R E
2012 Production Summit Ent.
Production Columbia Pictures
Director David Bowers
Director Roland Emmerich
Starring Freddie Highmore, Nicolas Cage
Starring John Cusack, Chiwetel Ejiofor
Genre Animation, Sci-Fi
The Vampire’s Assistant
Production Focus Features
Director Paul Weitz
Director Richard Curtis
Starring John C. Reilly, Ken Watanabe
Starring Philip Seymour Hoffman, Bill Nighy
Genre Adventure, Fantasy
Genre Comedy, Romance
The Blind Side Production TriStar Pictures
Production Warner Bros. Pict.
Director Jorge Blanco,
Director John Lee Hancock
Starring Dwayne “The Rock” Johnson
Starring Sandra Bullock, Tim McGraw
Genre Action, Fantasy
Genre Drama, Sports
The Men Who Stare at Goats
Production Universal Pictures
R E L E A S E S
Production Overture Films
Director Grant Heslov
Director Kevin Greutert
Starring George Clooney, Ewan McGregor
Starring Costas Mandylor, Mark Rolston
F U T U R E
The Twilight Saga: New Moon
R E L E A S E S
Production Summit Ent.
Production Screen Gems
Director Chris Weitz
Director Nimrod Antal
Starring Kristen Stewart, Robert Pattinson
Starring Matt Dillon, Jean Reno
Genre Romance, Thriller
Genre Action, Thriller
The Fantastic Mr. Fox
Production 20th Century Fox
Director Wes Anderson
Director Jim Sheridan
Starring George Clooney, Cate Blanchett
Starring Natalie Portman, Tobey Maguire
Genre Drama, War
Up in the Air Production Warner Bros.
Production Paramount Pic.
Director James McTeigue
Director Jason Reitman
Starring Rain, Naomie Harris
Starring George Clooney, Vera Farmiga
Old Dogs Production Walt Disney
Production Warner Bros.
Director Walt Becker
Director Guy Ritchie
Starring John Travolta, Robin Williams
Starring Robert Downey Jr., Jude Law
Genre Action, Adventure
F U T U R E
R E L E A S E S
Alvin and the Chipmunks
Avatar Production 20th Century Fox
Production 20th Century Fox
Director James Cameron
Director Betty Thomas
Starring Sam Worthington, Zoe Saldana
Starring Jason Lee, Justin Long, Matthew Gray
Genre Action, Adventure
Do Knot Disturb
Production Eros Entertainment
Director David Dhawan
Director Sujoy Ghosh
Starring Govinda, Sushmita Sen, Lara Dutta
Starring Amitabh Bachchan, Sanjay Dutt
Genre Children, Fantasy
Ajab Prem Ki Ghazab Kahani Production White Feather Films
Production Tips Music Films
Director Suparn Verma
Director Rajkumar Santoshi
Starring Fardeen Khan, Dia Mirza
Starring Ranbir Kapoor, Katrina Kaif
All The Best
Production Puja Entertainment
Genre Animation, Comedy
3 Idiots Production Devgan Ent.
Production Vidhu Vinod Chopra
Director Rohit Shetty
Director Rajkumar Hirani
Starring Ajay Devgan, Bipasha Basu
Starring Aamir Khan, Kareena Kapoor
F U T U R E
R E L E A S E S
Blue Production Shree Ashtavinayak Cinevision
Production Banner Headstart Director Vipul Shah
Director Anthony Dâ€™Souza
Starring Salman Khan, Ajay Devgan, Asin, Rannvijay Singh
Starring Sanjay Dutt, Akshay Kumar Genre Action
ADVERTISERSâ€™ INDEX INTERNATIONAL Company Name
Email / Website
firstname.lastname@example.org / www.anutone.com
Juliana.Tong@christiedigital.com / www.christiedigital.com
email@example.com / www.cinemaworks.biz
firstname.lastname@example.org / www.doremicinema.com
email@example.com / www.uslinc.com
This issue of TW has two sets of page numbers - International pages TW-1 to TW-48 for TW, and India pages TM-1 to TM-32 for TM. TM is inserted between pages TW-34 and TW-35 of TW.
INDIA Company Name
Email / Website
firstname.lastname@example.org / www.barco.com
email@example.com / www.bluestarindia.com
firstname.lastname@example.org / www.cinematoday.in
email@example.com / www.esselgroup.com
firstname.lastname@example.org / www.galalitescreens.com
email@example.com / www.scrabbleentertainment.com
The next issue of TheatreWorld is our Winter Special. It will be promoted at CineAsia - Hong Kong and Cinema Today - India. The last date for advertising orders is 20 November 2009. Email firstname.lastname@example.org
Anutone provides total interior finish solutions for walls and ceilings to all kinds of architectural spaces. For cinemas Anutone provides black ceilings, special drywall partitions, fabric panelling etc. Anutone interiors perform all the time - visually when the lights are on and aurally when the lights are off - so that audiences feel good forever!
Cinema Cinemainteriors interiorsby byAnutone Anutone Defined Defined by by the the visuals visuals Engineered Engineered by by the the analyser analyser Enjoyed Enjoyed by by audiences audiences forever! forever!
ANUTONE INTERIORS (a division of Anutone Acoustics Limited) 231, 7th Cross, 1st Stage, Indiranagar, Bengaluru 560 038, India Phone 080 2520 3114 email@example.com
MUMBAI 022 26439732 9892290254 9892504871
DELHI 011 24378061 9899708056 9811981501
CHENNAI 044 28330906 9840773888 9845010814