This issue of TW has two sets of page numbers - International pages TW-1 to TW-68 for TW, and India pages TM-1 to TM-32 for TM. TM is inserted between pages TW-54 and TW-55 of TW.
World Cup Soccer in 3D Digital Cinemas
Hot Products... Check Them Out!
The Ultimate 'Goal' of Alternative Content!
SPECIAL FEATURE Continental Shift
Digital Europe, Cinematically TW-
Review - ShoWest Preview - Cinema Expo
AAM, Cineworld in Pact
Largest D-Drive in Europe TECHNOLOGY Fast-Track Cinema
CINEMA SYSTEMS Projection Series - XXIX
entertainworld F U T U R E R E L E A S E S
Future is Digital 3D! If the 1990s were defined by digital multichannel sound and the last decade by digital cinema (2k picture), then this decade is going to be defined by digital 3D. First 3D is going to reach 4k from the current 2k and later 3D is going to mean no glasses â€Ś and that is when it will really take off. 3D has been around for a few decades so what makes it new? Well for one, it is digital and for another it is being rapidly adopted by home cinema, both Bluray and broadcast, where HD 3D on HDMI 1.4a is becoming the norm. Soon 3D will be on mobiles and computers (without glasses)!
But for 3D to become mainstream in developing countries of Asia, including India and China, it would be necessary to first roll-out digital cinema more expansively. A case in point is Europe where as a continent it is almost all digital. A majority of cinemas in developing countries of Asia are single-screen and for India, still arc-carbon! Hopefully, with new models of deployment coming in to play, India and China, should see its cinema exhibition leapfrogging straight to digital 3D multiplexes!
And where does that leave sound? Perhaps a couple of channels more, otherwise we have reached the limits of human hearing. Pushing the envelope would be 4D or 5D where every seat rocks and tubes in seatbacks deliver smells, air wisps, mist. But this is likely to remain in the realm of speciality theatres of theme parks for quite some time. As of now it is digital 3D!
Sandeep Mittal Editor / Publisher
Value - INR 150 (US$ 15)
Issue # 46 / July-September 2010
Never doubt that a small group of thoughtful committed people can change the world. Indeed, it is the only thing that ever has.
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It’s been eleven 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.
Apollo Zooms High into Digital Space The 3D revolution is here to stay and British cinemagoers are in for the experience of a lifetime. Apollo Cinemas - one of the major British cinema chains revolutionising movie-going experience in the UK - made a history of sorts when it recently launched Europe's first fully 4K digital 3D multiplex. Global 3D major RealD and Sony Professional have put their technology energies together to fuel Apollo zoom into the digital space. A new cinematic domain in Europe thus opened. The St. Catherine's Walk at Carmarthen in Wales, UK, suddenly hit global reckoning on 30 April this year. For, on that day, a six-screen cinema of the Apollo Cinemas chain, located on that street, etched its name in the annals of global record books with the fame of an all-4k digital 3D exhibitionthe first of its kind in Europe. While the cinema major had already fully digitized nine of its 14 cinema locations across the UK with Sony's 4k systems, the Carmarthen venue moved
one step ahead with all-3D digital format, making up about 27 per cent of the circuit's current digital footprint. According to sources, the company intends to equip all its 83 screens with Sony's 4k systems, with one-third of them being in 3D digital. The current install follows the company's full-digital installs in its cinemas at Redditch, Altrincham and Fareham. That the sixth largest cinema chain in the UK has another four locations with a total of 22 screens
lined up for the coming months, its latest initiative is expected to have significant bearing on the regional exhibition industry, given the momentum the digital movement has been gaining for some time now. The six-screen cinema with a total seating capacity of 912 - done in luxurious stadium seating style features Harkness Halls' Spectral 240 3D screens matching up the 3D digital projection, and latest digital audio system to compliment the setting.
Arqiva to Power 'Apollo' into Digital Space Apollo Cinemas chose Arqiva's digital cinema satellite distribution system for their entire cinema circuit. This will enable Arqiva to electronically deliver digital cinema packages and live events to all of Apollo's sites around the UK. The first performance streamed live via satellite for Apollo was the Bolshoi Ballet's 'La Flame de Paris' from Moscow on 8 April, 2010.
More, the cinema features •
• • •
Wheelchair access to each screen with dedicated seating for persons requiring wheelchair spaces Induction loop in each screen for hard of hearing patrons Premium seating Fully licensed bar; Costa Coffee; and Haagen Dazs Ice Cream concession Customised ticketing Varied programming
"3D has fascinated and captivated audiences everywhere since the 1950s and the creation of this all-digital, all-
"Arqiva's innovative satellite system uses professional broadcast equipment to provide a robust and reliable electronic delivery system for live and feature content," said Barrie Woolston, Commercial Director at Arqiva Satellite & Media. "Apollo has a reputation for being at the cutting edge of cinema," he said, adding, "we congratulate Apollo on being the first UK cinema chain to fully deploy digital cinema for which Arqiva's
electronic distribution is ideally suited." Arqiva provides robust satellite and IP networks for the managed delivery of entertainment, information and advertising worldwide. It works with leading media distributors to provide electronic delivery services of live events and feature films into digital cinemas across Europe.
3D multiplex will now take 3D to a new and even more exciting level," Rob Arthur, Managing Director at Apollo Cinemas explained. "Viewers will enjoy a totally immersive and intense cinema experience, such as they've never seen or felt before." According to him, through partnerships with Sony Professional and RealD, Apollo has invested a great
deal in creating an innovative entertainment environment across the Apollo circuit. He hoped that the ground-breaking initiative brings the ultimate digital cinema experience to all its visitors. "This project was built on the idea of bringing something new and innovative to this industry," said Oliver Pasch, Head of Digital Cinema
at Sony Professional. "We are very proud to be working with Apollo on this." Oliver felt that the launch of this landmark new multiplex puts Apollo firmly at the forefront of innovation within the cinema industry. By transforming the traditional role of cinema into something far more exciting, Apollo is bringing a new entertainment experience to the local community.
3D Movies One-Third Box Office 3D movies accounted a whopping 33 per cent of total domestic box office revenues since the release of Avatar in December last, according to a study released by The International 3D Society (I3DS). According to the report, four movies Clash of the Titans, How to Train Your Dragon, Alice in Wonderland and Avatar have generated $1.2 billion in the USA out of the total $3.587 billion global collections. I3DS President Jim Chabin remarked, "this is truly remarkable performance in that out of 127 general market movies released, just four 3D movies captured as much as 33 per cent of the total box office collections so far this year."
The study, which was prepared for the Society by Exhibitor Relations Inc., showed that 3D movies have been at the top of box office for as many as 10 out of 14 weeks in 2010. For Alice in Wonderland and How to Train Your Dragon, 3D ticket sales accounted for 65 per cent of total domestic grosses while they were still higher at 80 per cent for Avatar grosses to date.
Biggest Piracy Bust in Australia
Australian Police made their biggest DVD burner lab bust of the year when Victoria Police from Altona North Regional Response Unit (RRU) raided a residence at Yarraville in Melbourne's south-west with a warrant to uncover a drug manufacturing laboratory. Instead, they discovered a massive haul of over 30,000 illegal DVD movies. The haul also included 117 DVDR burners, eight computers and five printers. The burning operation was capable of producing nearly three million illegal discs a year. Amongst the tens of thousands of illegal DVD movies, police discovered illegal copies of Iron Man 2, which is currently showing in cinemas across Australia. Police arrested three persons in connection with the unraveling of the offense.
SuperVision, Arqiva to Beam Alternative Content Arqiva entered into an agreement with events rights holder SuperVision Media for satellite distribution services via Arqiva's Digital Cinema platform on IS905. This supports SuperVision Media's distribution and commercialisation of live sport and entertainment events into digitally enabled cinemas in Europe and around the world. Barrie Woolston, Commercial Director at Arqiva Satellite & Media, said, "we are delighted that SuperVision Media has chosen Arqiva's Digital Cinema platform for the distribution of their high-profile sports and entertainment content. Arqiva will provide SuperVision Media with a range of satellite based services including SNG, uplinking, turnaround and content management. We warmly welcome SuperVision Media to our Digital Cinema platform and look forward to working with them closely."
SuperVision Media Managing Director Daniel Webber added, "we believe that Arqiva, with their market leading technology and services, are a perfect partner for us as we expand our business in Europe and around the globe." Arqiva provides robust satellite and IP networks for the managed delivery of entertainment, information and advertising worldwide. It works with leading media distributors to provide electronic delivery services for feature films and live events into digital cinemas across Europe. SuperVision Media is a leading player in the alternative content space distributing to cinemas and other out of home venues. SuperVision Media finances, distributes and commercialises top sporting and entertainment content around the globe.
Following the operation, Australian Federation Against Copyright Theft (AFACT) executive director Neil Gane said, "I commend the important work carried out by Victoria Police during this operation. Closing down this largescale DVD movie burning racket is a good day for local community cinemas and DVD stores who deserve a fair go and should not have to compete with theft. It also sends a clear message to would-be movie criminals that copyright theft is a serious crime which will be investigated, shut down and prosecuted through the courts." Motion Picture Association, Asia Pacific president and managing director Mike Ellis added, "the Australian authorities have once again proven how serious they take this problem by going after such illegal operations consistently. The size of this burner lab indicates that organised criminal elements are profiting considerably from copyright theft, and it is of utmost importance that we all join hands to see that they are shut down." July-September 2010
Christie’s New Facility in China Christie announced the opening of a new manufacturing facility in Shenzhen, China, to meet the growing global demand for digital cinema projectors to screen 2D and 3D movies. The new facility will significantly expand the company’s production capabilities, with the Christie Solaria projectors scheduled to roll off the assembly line in July. Production will begin with CP2220 and CP2210, with the CP2230 to follow. The Shenzhen factory will initially feed the Asia Pacific market, freeing up capacity at Christie’s North American plant to increase supply to the rest of the world. Christie selected Shenzhen because it offers access to a well-educated and highly skilled labour force. China’s third largest city, after Shanghai and Beijing, with 16 million people, Shenzhen is considered one of the country’s most successful industrial centres. In addition, its close proximity to Hong Kong attracts a multinational staff to serve the global markets. Hong Kong also features one of the largest ports in the world, facilitating quick deployment of digital projectors to other regions. The new facility adheres to Christie’s strict quality standards, utilizing the same manufacturing principles as its North American operations. With plans to increase the staff in Shenzhen and to add a second assembly line in the coming months, Christie is poised to double production and leap over the competition in dedicated manufacturing capabilities. ”We are committed to all our partners in the exhibition community, and that includes making substantial financial investments to ensure we meet their needs,” said Jack Kline, President and COO of Christie Digital Systems USA, Inc. “The two facilities are operating closely together under the direction of Christie’s veteran technical team, with Shenzhen precisely mirroring the world class manufacturing standards we observe in North America. We are using identical equipment and assembly line techniques.”
Barco to Digitize Jinyi Cinemas Barco has signed a major contract for the deployment of 200 digital cinema systems for Jinyi Zhujiang Movie Circuit, China's sixth largest cinema chain. Based in China's southern city of Guangzhou, Zhejiang Jinyi Zhujiang Movie Circuit Co., Ltd (Jinyi) is a joint venture between Jiayu Group and Guangzhou Cinema Chain. Jinyi specializes in cinema development and features some 200 screens across 10 cities, and is one of the mainland's leading cinema exhibitors. The cinema chain's contract with Barco calls for the deployment of its dynamic 2K digital cinema projector family of solutions, including twenty DP2K-32B, 170 DP2K20C and 10 Barco DP2K-12C projectors.
"We have been extremely happy with the performance of the 100 Barco digital cinema systems we installed last year," says Xu Binbiao, GM of Jinyi. "Needless to say, the quality of Barco products speaks for itself. As we pursue the expansion of our cinema's, it's only natural that we partner again with Barco in our continued expansion into digital cinema." "We're happy to continue our relationship with Jinyi," says Yan Fei, Manager Director of Barco Greater China. "Building upon last year's order, an additional 200 digital cinema projects is sure to enhance Jinyi's profile as a top cinema provider. This
type of domestic growth bodes well for our investment in technical development and localized production to meet the customer demands of the China market."
optical design, the industry's most efficient 6.5kW lamp and a remarkable maximum screen width, the DP2K-32B, truly exemplifies the company's leadership in image quality.
"Equipped with the latest DLP Cinema chip, the new DP2K-series offers the brightest and most cost-effective projection solution available on the market today. Barco is proud to be playing a major role in helping drive the Chinese cinema industry's transition to digital cinema."
The DP2K-20C is Barco's digital cinema platform for large and mid-market venues. It delivers remarkable brightness without sacrificing resolution, features a modular design optimized for serviceability and overall system flexibility. The DP2K-20C is suitable for screens up to 20m and is also the most cost-effective 3D projector on the market today. The DP2K-12C is the perfect projector for small venues, allowing even the smallest cinemas - screens up to 12m to have access to digital cinema, at an affordable price.
Featuring the latest DLP Cinema chip from Texas Instruments, the DP2K-32B is Barco's flagship projector - the brightest digital cinema projector in the industry - is suitable for screens up to 32m wide. With new lenses, a new
Barco to Drive Digital Journey in Zhejiang Barco signed a major contract for the deployment of 100 digital cinema system for Zhejiang Time Cinema, China's seventh largest cinema chain. Zhejiang Time Cinema World Co., Ltd is a subsidiary of Zhejiang Film Co. The company serves as an interprovincial cinema chain whose operations include the distribution business of films both in and outside Zhejiang Province. Zhejiang Time Cinema is the leader in the province, accounting for some 64 per cent of the market; its business extends to nearby regions, including Shanghai, Jiangxi and Anhui provinces. The contract calls for the deployment of Barco's Series 2 digital cinema projector family, including the extremely bright DP2K-32B and the compact DP2K-20C and 12C projectors. "Having previously used Barco projectors, we are very familiar with their solutions' extremely high quality and the company's quick response service program," says Zheng Jintian, Zhejiang Time Cinema's Technical Director. "Our order for 100 projectors shows how truly confident we are in Barco as both a solution provider and business partner in our rapid growth."
"We are excited in launching Barco's next generation 2K Digital cinema projector line," says Yan Fei, Manager Director of Barco Greater China. "Equipped with the latest DLP Cinema chip, the new DP2K-series offers the brightest and most cost-effective projection solution available on the market today. We are delighted to be installing the new series II projectors with Zhejiang Time Cinema as this contract honors our continued efforts developing innovative products and solutions."
Moviemaking Premiere to Curb Piracy
In conjunction with World IP Day celebrations, on 26 April this year, the Motion Picture Association (MPA) premiered in Singapore It's a Wrap an educational video that goes behind the scenes to provide an insight into the workings of the Singapore film industry and how a movie is made. Guest of Honour, Associate Professor Ho Peng Kee, Senior Minister of State for Law and Home Affairs released the DVD at a function with film industry professionals, students and members of the Honour Intellectual Property (HIP) Alliance in attendance. The video premiered in conjunction with the premiere of IP Man 2, a semibiographical Chinese martial arts movie, and a sequel to the 2008 hit movie IP Man.
Featuring the latest DLP Cinema Chip from Texas Instruments, the is Barco's flagship projector -
It aims to highlight the people whose careers and livelihoods depend on the returns gathered from screening of movies in cinemas, on genuine DVDs and legitimate online services. Students will be made aware of the various occupations and roles in movie-making ranging from sound technicians to script writers and why content protection is important. Familiar faces from the local movie industry like Lim Kay Tong, Juan Foo and Wee Li Lin shared their moviemaking experiences on camera in this production put together by local production studio Ark Pictures.
Claimed to be the brightest digital cinema projector in the industry and suitable for screens up to 32m wide, the DP2K-32B projector, with new lenses, a new optical design, the industry's most efficient 6.5kW lamp and a remarkable maximum screen width, truly exemplifies the company's leadership in image quality.
The video will be distributed to schools across Singapore by HIP Alliance, a key outreach and educational initiative under the Intellectual Property Office of Singapore, with an objective for all students to appreciate, recognize and respect the hard work and intricacies that go into making a movie. July-September 2010
Christie, DCK in Pact for D-Cinema
CFG's 'Strong' Digital Drive Ballantyne Strong, Inc. announced that it has been selected to provide 200 NEC digital cinema projectors to Antaeus D-Cinema Investment Corporation, a partner of China Film Group Corp., for theatres throughout The People's Republic of China (PRC). Ballantyne expects to make initial shipments of 50 projectors in the second quarter of 2010, with the balance of the order to be shipped later this year. The new agreement follows a 100-projector order completed in Q2 '09 and a 160projector order completed in Q1 '10.
Christie announced that Seoul, South Korea-based D-Cinema Korea Co. Ltd. (DCK) has committed to installing Christie 4K-ready Solaria Series DLP Cinema projectors in the second phase of their digital cinema deployments, countrywide. After an extremely successful first phase of installations, DCK selected Christie's next generation Series 2 projectors, based on their reliability, low cost of ownership and upgradeability to 4K. Christie is the first in the world to ship and install the Series 2 projectors globally, which utilize Academy Award-winning DLP Cinema technology from Texas Instruments. In the initial deployment plan, DCK, the joint-venture company of Lotte Cinema and CJ CGV, installed Christie CP2000 Series projectors in the majority of cinemas across the country. The agreement for the second phase of installations strengthens DCK's leadership in digital cinema and introduces a new era in content distribution for Korea. With this second phase installation, South Korea is expected to be the first, completely digitized country in the world. "With the ability to upgrade to 4K, the exceptional light output capability, and the ease of service and operation
of Christie's Solaria Series projectors, they are exactly what we require to equip our theatres across South Korea," said Lee Dong-ho/Cho Junghoon, Co-CEO of DCK. "Cinema goers will be thrilled with the realistic 3D picture quality from Christie projectors as they take in the latest releases at our cinemas," he added explaining about their choice of installing Christie Series 2 projectors. "It's all about quality and choice," said Lin Yu, vice-president, Christie Asia Pacific. "With Christie Series 2 projectors, theaters can create a topof-the-line 3D solution using any of the leading 3D technologies on the market. We are proud of DCK's decision to install Christie Series 2 projectors in all their cinemas. Christie remains committed to supporting our customers and protecting their technology investment." Designed to meet all Digital Cinema Initiatives (DCI) specifications, the Christie Solaria Series features Christie Brilliant3D technology, providing the ultimate, most realistic 3D experience with the lowest cost of operation. Christie DLP Cinema projectors are the world's most installed digital cinema projectors, renowned for their brightness, flexibility, reliability and product integrity.
John P. Wilmers, President and CEO of Ballantyne, commented, "we are gratified that China Film Group has expanded its commitment to Ballantyne and our NEC projector line with this, their largest order to date." According to him, China is a very attractive market opportunity for Ballantyne and its partner, NEC. With approximately 6,000 cinema screens currently, the PRC is focused on rapidly growing its theatre and screen footprint to as many as 12,000 or more screens in the next three-five years. "We look forward to supporting China Film Group in bringing digital cinema to a growing number of Chinese consumers. We are also working on plans to bring our cinema screen products, including specialty 'silver screens' required for most 3D cinema methods, to serve the needs of this growing market and hope to initiate that effort in early 2011," said Wilmers. Ballantyne has a sales and full-service office in Beijing, China and plans to open an additional office in Shanghai later this year.
DFC Leading Arab Cinema from Front Dubai Film Connection (DFC), is spearheading a new wave in Arab filmmaking with a showcase of 46 projects in various stages of production including 10 completed movies, while nine are nearing completion. The DFC offers directors of Arab origin over US $120,000 in prize money and invaluable industry connections. The co-production market also matches the shortlisted director/producer teams with specialists in film production, sales, distribution and funding to further their projects. Says DIFF managing director Shivani Pandya: "The Dubai Film Connection has established itself as a tangible platform for Arab film-makers from around the world to accomplish their dream projects. All completed DFC projects have gone on to win global acclaim. This is further testament to the growing international stature of the festival." According to her, one of the founding objectives of DIFF had been to encourage regional film-making talent, not only through creative support but financial and production assistance and knowhow. Dubai Film Connection has successfully accomplished this goal, and has drawn the interest of filmmakers of Arab origin globally to Dubai.
US$10,000 for a first-time feature filmmaker. Film Clinic managing director Mohamed Hefzy exults: "at Film Clinic we are passionate about supporting emerging talent in the Arab world. We're very proud to be presenting this award to a first time filmmaker, especially at Dubai International Film Festival as it is a main hub for Arab filmmakers and an important festival internationally." DIFF 2009, through its partnership with the Producers Network, Cannes Film Festival, extended its support to the participation of five producers from the Arab region; Ihab Jadallah (Krishna Films, Palestine), Fadi Sarraf (Sandbag Productions, Jordan), Talal Al Muhanna (Sofia Media Group, Kuwait), Lara Fadel (961 Productions, Lebanon) and Georges Schoucair (Abbout Productions, Lebanon). Headlining the accomplishments of DFC since inception in 2007 are pathbreaking films including City of Life, the first multi-lingual feature film directed and produced by a UAE national filmmaker, Ali Mostafa, with an international cast and crew in Dubai. Amreeka, the lighthearted story of a Palestinian immigrant family directed
by Cherien Dabis, is another DFC project that made its world premiere at the 2009 Sundance Film Festival and went on to win the prestigious FIPRESCI International Federation of Film Critics prize at the Cannes Film Festival. Canada's Hot Docs festival selected Lebanese director Simon El Habre's documentary The One Man Village as Best International Feature documentary in 2009; the film also scooped up prizes in Rotterdam, Monaco and Prague and was screened as part of the official selection for the Muhr Awards at DIFF in 2008. Also joining in the global acclaim for DFC projects is Lebanese drama Every Day is a Holiday, directed by Dima ElHorr, which debuted at the 2009 Toronto International Film Festival, while director Haider Rashid's Tangled Up in Blue and Mohamed Al Daradji's Son of Babylon scooped prizes at the Gulf Film Festival. Other completed DFC projects include Fix Me (directed by Raed Andoni); Messages from the Sea (Daoud Abdel Sayed); Port of Memory (Kamal Al Jafari); and Zindeeq (Michel Khleifi), which won the 'Muhr Arab - Best Feature Film Award' at DIFF 2009.
Winners at DFC receive three DIFF Awards each offering US $25,000; the US $25,000-Desert Door DIFF Work in Progress Award, and the $10,000Bahrain Film Production Company/DIFF Development Award. This year, Film Clinic Egypt extends further support to DFC projects with an award of July-September 2010
IMAX, Tokyu Expand Joint Venture Initiative IMAX Corporation and Tokyu Recreation, the owner of 109 Cinemas - 10 is To and 9 is kyu -announced a new joint venture agreement to install five digital IMAX theatre systems in Japan. The agreement builds on the success of IMAX's current joint venture partnership with the exhibitor, which includes four IMAX theatres that were installed in 2009. Those existing IMAX screens have posted consistently strong box office performance with Hollywood IMAX releases, including Twentieth Century Fox's Avatar, which grossed $8 million on the four Tokyu IMAX screens. For the release of Avatar, the 109 Cinemas IMAX location in Kawasaki ranked as Japan's highest grossing screen. The three other Tokyu IMAX screens in Nagoya, Minoh and Shobu have shown significant improvements on their national rankings since their IMAX systems were installed. Disney's Alice in Wonderland opened on Saturday in Japan, setting a new Japanese IMAX box office record, with the four Tokyu IMAX screens generating a total of $335,882 in only two days. Under the terms of the new deal, five new IMAX systems are scheduled to be installed in 109 Cinemas locations by June 2012, with the first two expected to be installed in November 2010 in the greater Tokyo area. The deal brings the total number of IMAX commercial multiplex theatres in Japan to nine, up from the four that are currently open. IMAX believes that its presence in Japan could grow significantly larger over time. As with the previous joint venture agreement, IMAX and Tokyu Recreation will share the cost and profitability of the new theatres. Each theatre will be equipped with IMAX's new digital projection system. "The performance of our four joint venture IMAX theatres has been very strong, increasing our market share and delivering an incredible consumer experience that is simply the best way to see event films," said Hitoshi Sato, President of Tokyu Recreation. "We are pleased to further our
commitment to IMAX by adding five new theatres that will serve even more consumers in key markets throughout Japan. IMAX is an important and valuable partner for our company and we look forward to even more financial and operational success together." "We are very excited to build on the success of our four current joint venture theatres with Tokyu Recreation, our first major exhibition partner in Japan, one of the most important entertainment markets in the world," said Gelfond. "Our Tokyu joint venture theatres are among our highest performing IMAX locations, and this success, combined with being associated with a top Japanese exhibition brand, is contributing significantly to the increased visibility of our own brand with consumers and exhibitors in the market." Shaw Theatres to Build Imax: IMAX Corporation and Shaw Theatres Pte Ltd, a leading exhibitor in Singapore, signed an agreement to install a digital IMAX theatre system at the exhibitor's premier location in the heart of Singapore's famous commercial retail and entertainment area, Orchard Road. The IMAX installation scheduled to be open in
spring of 2011 is part of a major remodelling of the Lido Cineplex in Shaw House. "We have watched the IMAX brand grow significantly across the AsiaPacific region and we believe it is an ideal fit for this iconic location." said Mark Shaw, Executive VicePresident of Shaw Theatres. "The combination of the growing slate of Hollywood blockbusters in the IMAX format and the super premium IMAX theatre system will deliver an exceptional experience our patrons will seek out and pay a premium for," he said, and added, "we believe that IMAX will be a major entertainment anchor for our complex and Singapore." "We're very excited to work with Shaw Theatres to help transform their cinema complex into a superpremium attraction for its customers," added Don Savant, IMAX's Senior Vice President and Managing Director, Asia Pacific. "With the biggest Hollywood movies as well as select mainstream Chinese films now available in the IMAX format, we're in a position to captivate a much wider audience and offer a broad range of movie experiences that moviegoers in Singapore can't get anywhere else."
Gaumont Pathe to Build Four IMAX Theatres: IMAX announced that Gaumont Pathé Movie Theatres of EuroPalaces, the leading exhibitor in France signed an agreement to install four new IMAX digital theatre systems at premier EuroPalaces locations in Paris/ Périphérie, and three regional cities throughout France. The new locations will be structured as joint ventures between IMAX and the exhibitor, with each location scheduled to be installed at the end of June 2010. The deal was signed following the success of EuroPalaces' Gaumont Disney Village IMAX theatre in Paris, which was recently upgraded with an IMAX digital projection system, as well as the success of the exhibitor's three IMAX joint
venture theatres in the Netherlands which operate under the Pathé theatre circuit in the cities of Amsterdam, Rotterdam and Eindhoven. With these four new theatres, EuroPalaces will operate a total of eight IMAX theatre systems with three in The Netherlands and five in France. "Gaumont and Pathé are brands that are associated with top-notch multiplexes, which makes them an ideal joint venture partner for IMAX," added Julian Stanford, IMAX's general Manager Theatre Development for Europe, Middle East and Africa. "We're both committed to delivering the best movie experiences and with these new locations more people in France will be able to experience the world's greatest movies in the most powerful and immersive way."
Landmark 4K Ready with Christie Christie announced that Canadian exhibition major Landmark Cinemas selected its Solaria Series 4K-ready digital cinema projectors for installation in six of its multiplexes across Western Canada. Largest regional movie exhibition circuit in Canada, Landmark decided to thrill audiences with the latest 3D box office hits using the Christie CP2230 and Christie CP2220 projectors. Privately owned and operated since 1965, Landmark Cinemas currently operates 31 cinema complexes, with a combined total of 108 screens in 27 locations throughout western Canada and the Yukon. The partners that make up the ownership group have strong roots to movie exhibition. "Every Landmark Cinemas theatre offers its customers the very best in entertainment value. We strive to make the theatre-going experience the best possible," said Neil Campbell, COO and Partner, Landmark Cinemas of Canada."3D has become an enormous game changer that has revived the exhibition industry. Now, with the additional Christie projectors, we can maximize our 8- and 10-screen complexes by doubling up our 3D presentations." Preparing for the future, Landmark Cinemas has plans for three new multiplexes to be built in Western
Canada in 2011. According to Campbell, "these new theatres will be 100 per cent digital with Christie digital projectors.' King Cinema Services, a division of Landmark Cinemas, installed the Christie CP2220 and Christie CP2230 projectors. They also recently installed Christie LW400 digital projectors for on-screen advertising. Campbell noted that he has been working with Christie for nearly three years, and the relationship has grown every year. "We consider Christie our partner and part of our family. Landmark Cinemas selected Christie based on the quality of its products and the dedication of the Christie team. The key to purchasing the Christie Solaria Series for our 3D presentations was the fact that they are 4K-ready. In addition, they offer the best options in the industry, at the lowest cost of ownership. Christie has proven to us that they can deliver whatever we need, when we need it," he said.
MasterImage 3D Opens Office in Europe 3D company MasterImage 3D, LLC has expanded its operations with the opening of its European office. Located in the UK's legendary Pinewood Studios, the new office serves the fast-growing number of theatres adopting MasterImage's 3D digital cinema systems across Europe and will help drive adoption of its auto-stereoscopic 3D display systems. Cinema technology veterans Brian Kercher, newly named managing director of 3D cinema, MasterImage 3D Europe, and Andrew Lee, director of sales engineering, are leading the company's European operations. MasterImage provides 3D solutions for cinemas, flat panel displays for televisions and mobile devices, and cameras. In the past six months MasterImage has doubled its theatrical market share, with more than 1,600 systems installed worldwide (over 500 of them in Europe). All six major Hollywood studios, along with independent distributors, support the MasterImage format for their 3D features. In 2009 the company also commercialized the world's first glassesfree 3D mobile device, the Hitachi Wooo. "When I encountered MasterImage's technology I was struck by the opportunity," said Kercher. "The company had an incredibly strong offering and a significant opportunity for growth in Europe. The quality of the MasterImage 3D presentation is unrivalled, and it has a cost of ownership that cannot be matched by 3D technology that uses expensive glasses or an endless 'seat tax' business model," he said, and added, "MasterImage works through local integrators that cinemas already know and trust. With our full support and
service organization now based in Europe together with our local integration partners, MasterImage is well positioned to bring beautiful 3D digital images to audiences in every corner of the region." Said MasterImage CEO Younghoon Lee, "we have been quietly developing and delivering 3D solutions since 2004 for an emerging 3D market, to the point where we are now providing the highest quality 3D experience from cinemas to cell phones. With Brian's and Andrew's experience and leadership, our European operation will help us to meet the demands of our growing customer base and deliver 3D images to a worldwide market hungry for 3D content and the means to view it.
Ymagis, UGC in Pact for Digital Ymagis and UGC signed their final agreement for the deployment of digital projection systems in all the complexes of the group. The deployment, which started in March 2010 in the four countries - France, Belgium, Spain and Italy - where UGC operates cinemas, will continue till completion of the task. Simultaneously, Ymagis has concluded the financing for the entire digitization of the 588 screens of the group. A bank syndicate lead by the Banque Populaire Group (Bred, Natixis Lease / Lease Expansion) together with LCL-CrĂŠdit Agricole, will finance most of the transaction, with Banque Palatine providing an additional credit line to Ymagis to complete the whole financing. This financing plan is the most important so far in Europe for a single digital deployment plan. With this agreement, and taking into account other agreements signed previously, Ymagis becomes the leading deploying entity in France, and a major player in Europe. Ymagis has now contracts with more than 840 screens in France, representing more than 25 per cent of the total French box office, and 1,150 screens in Europe including also Spain, Belgium, Germany and Italy.
Meyer Ushers Mexican Cinema into New Sound Era Known primarily for producing history documentaries, Mexican movie industry in recent years has risen to international status receiving critical praise at major movie festivals for acting, cinematography, and direction. With a view to preparing its facilities for 21st century digital cinema production, Mexico City-based LaboFilms - the country's leading production house has installed a state-of-the-art mixing stage at LaboDigital. Based on CQ-1 loudspeakers, the new Meyer Sound system provides the linear sound quality that translates smoothly across postproduction and theatre reproduction. With its Meyer Sound system, the 30year-old LaboFilms has provided a prime THX-certified mixing stage for filmmakers in Mexico. To date, ten fulllength movies have been made at LaboDigital including Quinzaine des Realisateurs, a Cannes Festival movie; the Spanish, English, and Portuguese versions of El Delfin; as well as the Spanish adaptations of Fantastic Mr. Fox and Tooth Fairy. LaboDigital is also the chosen site for creating the print master for Los Herederos, a movie sponsored by UNICEF. "The creation of LaboDigital was intended to improve the standard of moviemaking in this country," says manager of LaboFilms, Carlos Cortes, who coordinated the Meyer Sound installation with LaboDigital Directors Charles Bathe and Guillermo AlagĂłn and Acoustic Worksolutions Group. "Mexico has successfully demonstrated that we
have the directing and acting talent to make high-quality cinema productions, and with LaboDigital, we have the resources to support these efforts." The installed system includes three Meyer Sound CQ-1 loudspeakers in a left-center-right configuration behind a custom-made projection screen by Torrance, Calif.-based Stewart Filmscreen. Two X-800 subwoofers provide undistorted bass power, and a surround system of ten UPJ-1P VariO loudspeakers completes the system. According to Cortes, the linearity of Meyer Sound loudspeakers makes the system ideal for audio post-production in cinema applications. "Meyer Sound products do not distort the audio signals, and this characteristic is crucial for highquality audio mixing for films," says Cortes. Further, Meyer Sound's commitment to customer support was essential in LaboFilms' certification process with Dolby and THX. "It was Roberto Velazco's recommendation for us to consider Meyer Sound," says Cortes. "And then the Meyer factory took the initiative to conduct the correct tests, while the staff at Meyer Sound Mexico stood by us throughout the whole process." The LaboDigital mixing stage is one of the world's top cinema facilities using Meyer Sound systems today. Other venues include University of Southern California's School of Cinematic Arts, the Bay Area's American Zoetrope, Skywalker Sound, and ImageMovers Digital, which feature Meyer Sound's Acheron-based Cinema Experience that was launched in 2009.
Products... Check Them Out! The domain of cinema entertainment is as fascinating as the movies it churns out. Exciting, often amusing, if not crazy! With technology impacting the space faster than even one's imagination, there is a new concept, if not a product straight away, coming to the market on a regular basis, to take the user communities by wonderment! Theatre World continues its effort to present some exciting products that have either hit the market recently or going to hit soon.
World's First LCD-Based Video Display from Dolby Dolby announced the release of new Professional Reference Monitor PRM4200 that delivers the accuracy of previous CRT monitors with the versatility of flat-panel displays. Proffessionals who rely on the most accurate measurement tools for colorcritical work, can now safely and confidently switch over to PRM-4200. The new 42-inch monitor is the world's first LCD-based video reference display that accurately reveals true and deep black levels with higher contrast across the entire color spectrum, and provides an unprecedented luminance range and level. It uses a backlight comprised of red, green, and blue LEDs that are modulated individually on a frameby-frame basis. The LCD panel is also modulated in real time as part of the dual-modulation process. "From broadcast audio to digital cinema, Dolby looks at the critical points in the entertainment chain that will ultimately deliver a compelling entertainment experience for the audience," said Jason Power, Senior Director of Marketing, Broadcast, Dolby Laboratories. "In creating our new professional reference monitor, we took a really close look at the video side of content creation and leveraged our expertise in imaging and manufacturing to produce a true next-generation reference display." Other key features of the Dolby Professional Reference Monitor PRM4200 include:
Size and aspect ratio- emulates the home viewing environment to ensure that content displays properly in the home
The new Dolby Professional Reference Monitor is scheduled to be available later this year.
Extended dynamic range- the first reference monitor that is capable of displaying the dynamic range that the latest digital cinema cameras can capture
DCI/P3 (digital cinema) colour gamut support- provides the ability to perform cinema color grading without the use of a digital projector
Colour accuracy across all luminance levels
Versatility- emulates any other display device so all content preparation and quality evaluation can be done on one monitor
Dolby's Expertise in Imaging: Dolby's activities in imaging today include digital cinema mastering services, JPEG2000 image encoding and decoding tools, and 3D presentation. Dolby has key technology and knowhow in the areas of LED backlighting technology, H.264 image compression, and layered image coding. Starting with the 2003 acquisition of industry-leading video coding expertise from DemoGraFX, Dolby expanded the imaging technology development team with an ongoing program of image research and development based at five centers around the world.
Dolby Unveils Surround 7.1 Sound Format Dolby Laboratories, Inc. announced it is working with Walt Disney Pictures and Pixar Animation Studios to deliver a new audio format, Dolby Surround 7.1. Disney and Pixar have stated that Dolby Surround 7.1 will be launched
in select theatres with the release of Toy Story 3 in 3D this June. "For 40 years, Dolby has not only provided content creators with the tools to create a more realistic audio experience, but has also
enabled the exhibitor to deliver audiences the ability to experience the content as the creator intended," said Page Haun, Senior Director, Marketing, Cinema Market Segment, Dolby Laboratories. "The release of Toy Story 3 in a discrete 7.1 mix will raise the bar for movie theatre owners and their patrons." Dolby Surround 7.1 brings a more exciting sensory experience to audiences for 2D and gives content creators control over audio placement in a theatre when mixing 3D movies. The ability to compose audio with visual elements of 3D allows content creators to immerse the audience deeper into the movie with dramatic realism. Dolby Surround 7.1 provides content creators four surround zones to better orchestrate audio channels in a movie theatre environment. The four surround zones incorporate the traditional Left Surround and Right
Surround with new Back Surround Left and Back Surround Right zones. The addition of the two Back Surround zones enhances directionality in panning 360 degrees around the theatre. Dolby Surround 7.1 format comprises 8 channels of audio and has the following channel layout: Left, Center, Right, Low-Frequency Effects (LFE), Left Surround, Right Surround, Back Surround Left (new), and Back Surround Right (new). In order for exhibitors to deliver the new format, Dolby will be providing Dolby Surround 7.1 playback capabilities in the Dolby CP650 and Dolby CP750 digital cinema audio processor lines.
According to Jack Cashin, President and Founder of USL, Inc. the JSD-100 was not only one among the most exciting products on demo at ShoWest, but also the hottest in the market since then. With 29 years of experience, USL has taken its vast cinema exhibition and manufacturing knowledge to a whole new level with the release of the JSD100. "It was a natural evolution from USL, Inc's extremely successful JDS-80 model" states Cashin. "The JSD-80 was designed for 35mm film decoding plus digital inputs for E-cinema sound formats." Cashin goes onto say, "the JSD-80 has certainly paved the way for the next generation in developing the technology for the arrival of USL's new JSD-100."
Continuing to provide cinema exhibition venues with unprecedented audio performance and advanced technology, JBL introduced the ScreenArray 5742 4-way and 5732 three-way ultrahigh-power loudspeaker systems, designed to compliment large-format 3D visual experience.
Dolby has actually demonstrated to exhibitors at ShoWest a discrete 7.1 mixed demo reel of past Pixar movies to showcase the advanced audio solution. After the show, exhibitors will be able to access the content to test and demonstrate in their theatres.
USL's Next Gen. Digital Cinema Processor USL, Inc. announced the launch of its latest product offering, the JSD-100 Digital Cinema Processor. The next generation offering in digital cinema processing from USL, the new JSD-100 was showcased at the ShoWest 2010 in Las Vegas.
JBL's Ultra HighPower ScreenArray Speakers
Cashin and the engineering team at USL, Inc. recognized the need for a dedicated d-cinema processor that could ensure low noise and low distortion processing for digital applications that would ensure superb presentations at an affordable cost to exhibitors. With this in mind the R & D process began 14 months ago and is culminating with a product that is in high demand. USL has kept their commitment to manufacturing innovative quality cinema products that meet and exceed customer expectations. The basic unit offers ten channels of 96KHz 24 bit audio. Eight channels for the auditorium and two channels for ADA compliance. Optional rear interface boards will support crossovers, and up to 30 channels. Networked audio and direct digital out puts to amplifiers will also be supported.
Both new ScreenArray speakers features a 150Watt, 4-inch titanium diaphragm highfrequency compression driver on JBL's patented Optimized Aperture waveguide, featuring Screen Spreading Compensation. The larger 5742 system features a quad mid-range array of four 8-inch Differential Drive cone midrange drivers, providing 1,400 Watts of smooth coverage, coupled with a dual 18-inch SVG Super Vented Gap, low-frequency section providing 1,600 Watts of high power output with minimum distortion. The 5732 ScreenArray model features a 700-Watt, dual cone midrange, and a dual 15-inch, 1,200-Watt lowfrequency section. This system provides significant power in a compact system for the headroom required in post-production venues as well as cinemas worldwide. JBL has been awarded three patents for its ScreenArray cinema loudspeaker technology, and both of the new systems include all of the patented ScreenArray design innovations integrated into a system that provides superior coverage, maximum power handling, and uniform power output with extremely low distortion. The Academy of Motion Picture Arts and Sciences presented JBL engineers with Technical Achievement Award "for the engineering and design of filtered line
array and screen spreading compensation as applied to motion picture loudspeaker systems." This same technology is actively employed in the new 5742 and 5732 ScreenArray systems to provide ideal power response and directivity control with seamless transition between acoustic sections. Both systems employ complex crossover elements implemented actively within the amplifier processing, while the ultra high power 5742 System is a four-way,
quad amplified system, the 5732 is a tri-amplified system. "The new 4-way, ultra-high-power ScreenArray system builds on the success of the revolutionary ScreenArray line of cinema loudspeakers," said Chuck Goodsell, Director of Cinema, JBL Professional. "This new creative advancement in cinema sound technology is intended to enhance the 3D visual effects in large-format cinemas."
QSC Upgrades DCP-300 Manifold QSC Audio announced several important upgrades to its highly successful DCP 300 Digital Cinema Processor .The DCP 300 now offers Windows 7 driver compatibility, RS232 serial automation control, SNMP network remote control and monitoring, and matrix surround decoding for its Non-Sync and Surround EX inputs. The cinema industry has come to rely QSC's DCP 300 as it continues to build on the legacy of the Digital Cinema Monitors DCM and Basis to provide all signal processing and monitoring functions for Digital Cinema in a single integrated system. Designed to be used with QSC's Digital Cinema Amplifiers DCA and featuring advanced DSP presets for QSC's Digital Cinema Speakers DCS, the DCP 300 optimizes loudspeaker performance while simplifying cinema sound system wiring and configuration. The new SNMP capability offers simple and easy integration into third party Theatre Management Systems TMS and remote monitoring via Network Operations Centers NOC. The DCP 300 covers cinema systems ranging from three to five screen channels, and is configurable for passive, bi-amp, tri-amp or quad-amp operation. Sixteen digital AES inputs provide the flexibility to reproduce current and future soundtrack formats. The DCP 300 is also compatible with all analog cinema processor formats including Dolby Digital Surround-EX and DTS-ES and features a 10-channel analog input for integration with 35mm audio systems.
Digital Signal Processing: The DCP 300 digital signal processing capability outperforms traditional analog crossovers and equalizers for optimized speaker performance. Crossover frequency, 1/3 octave graphic EQ, parametric equalization, polarity, delay and gain can be precisely adjusted for each speaker in your system. Active 2-way, 3-way and 4-way crossovers are available. Advanced crossover presets for QSC DCS speakers speeds system set-up and insures maximum performance. Less Wiring, Faster Set-up: DCPs greatly simplify system wiring and setup, significantly reducing installation time and labor cost. Input to the DCP is
provided via standard DB-25 cables from the D-Cinema server and/or 35mm cinema processor. Connections to DCA amplifiers for input and monitor signals are made through a single QSC DataPort / VGA-style cable. All traditional XLR and barrier strip terminations are eliminated. DCPs simplify set-up by using a menu-driven, PC-based software program for configuration. The program includes a speaker data file that lists default parameters for popular cinema speaker models. Commonly used configurations can also be saved on a disk, allowing you to quickly load them on other DCMs. All system configuration data is saved to an SD memory card, allowing easy transfer of settings to a new DCP, should replacement ever be required. Advanced Monitor Functions: In addition to audio monitoring of amplifier inputs and outputs, DCPs include QSC's exclusive "load fault" detection. DCPs monitor all amplifier outputs and indicate opens and shorts in the speaker system, providing confirmation that all amplifier outputs are functioning properly. In addition, the DCP detects all amplifier clipping, protect modes and heat sink temperature for reporting via a QSControl Ethernet monitoring system or via SNMP for TMS and NOC integration. QSControl and QSCreator allow for the creation of custom control screens and remote access for fault reporting and diagnosis. The NAC 100 Ethernet remote control panel provides remote operation in a multiplex from anywhere on the local network.
New AcousticDesign Ceiling Speakers From QSC QSC Audio announced an extension to its AcousticDesign ceiling speaker range, with the release of two new highoutput models- the ADC1200 and AD-C820/ C821. AcousticDesign in-ceiling loudspeakers are ideal for distributed audio in applications that require high output from a ceiling mounted loudspeaker, such as background music and general audio applications in
lobbies, outdoor box office areas, restrooms, and corridors and in theatres as ceiling surround speakers. The AcousticDesign Series of installation loudspeakers has been designed for trouble free operation and versatility. July-September 2010
Utilizing custom designed transducers and crossover networks, in combination with an acoustically optimized enclosure the AD-C1200 embraces the AD Series philosophy by bringing the same versatility and reliability to high-ceiling applications. The AD-C1200 High-output ceiling mount loudspeaker system features 12-inch low frequency woofer, 1.75inch diaphragm compression driver, 300W continuous power rating, and a 70V / 100V multi-tap transformer that enables the system to operate in distributed or low-impedance mode. Each AD-C1200 includes the coaxial transducers, a transformer and a crossover network, factory mounted on a steel baffle. The baffle is designed to mount to the QSC enclosure or to any ~2.5 ft3 enclosure using industry standard transducer mounting dimensions. A square grille as in AD-C1200SG is available to complete the installation. This model is complemented by the AD-C820/C821, which features 8-inch low frequency woofer, 1.75-inch diaphragm compression driver, 200W continuous power rating, 70V / 100V
multi-tap transformer (enabling the system to operate in distributed or low-impedance mode) and AD-C820 transducer/baffle assembly for separated backcan installation. The AD-C821 has been designed as a fully integrated blind-mount system. The AD-C820 and AD-C821 are acoustically identical and both models use custom designed transducers and crossover networks, in combination with an acoustically optimized enclosure as in AD-C800BB, or as a fully integrated, sealed system as in AD-C821. The AD-C800 series loudspeakers extend the AcousticDesign philosophy of bringing natural and accurate sound quality combined with versatility and reliability to high-ceiling applications. Each AD-C820 includes the coaxial transducers, a transformer and a crossover network, factory mounted on a steel baffle. The baffle is designed to mount to the QSC enclosure. The ADC821 is a fully integrated, factorysealed system using a 'dog ear'-style mounting scheme. An optional round like the AD-C800RG or square like the AD-C800SG grille is available to complete the installation.
Crown's Groundbreaking Cinema Amp Series Building upon the success of its groundbreaking line of amplifiers dedicated for use in cinema sound, Crown Audio has brought to market its new DSi 6000 series. The newest addition to the DSi series, the DSI 6000 is designed to provide further support for the JBL line of cinema loudspeakers. The DSi 6000 features automatic presets for JBL cinema speaker systems for quick and easy setup. An intuitive front panel LCD panel guides installers through the process of choosing loudspeaker signal processing presets and other system parameters. All DSi series amplifiers can be configured through the Harman HiQnet System Architect platform. "When increased power is required, the Crown DSi 6000 cinema amplifier provides the power of 2100 Watts at 4 ohms and is a significant addition to the
DSi line of cinema amplifiers that are the perfect match for JBL cinema systems," stated Chuck Goodsell, Director of Cinema Marketing for JBL Professional. "The DSI 6000 represents our commitment to provide the end users in this market with a continuously expanding variety of options to meet the needs any environment. The collaboration with JBL in the development of the new DSI 6000 is an example of the ability of Harman brands to share product development expertise," stated Andy Flint, Marketing Manager, for Crown. The DSi6000 amplifiers include Crown's extremely light and efficient switch-mode power supply, and
weighs 24 pounds. The DSi 6000 has a three-year, no-fault warranty. The power rating for the new DSi 6000 is 2100 watts per channel at 4 ohms. Harman HiQnet is the world's first connectivity and control protocol that integrates all product categories in the signal chain for professional audio systems of all types, size, and applications. Harman HiQnet no longer requires the user to manage multiple disparate operating systems or be responsible for programming individual signal processors, speaker controllers, wireless microphone systems, and mixing consoles.
Multi-Use 3D Glasses from MasterImage
MasterImage 3D, LLC, recently introduced premium quality, multi-use glasses for their 3D digital cinema systems. The environmentally friendly, high-performance glasses are fitted with the company's advanced, circular polarized lenses. The MasterImage glasses, made available to theatre owners worldwide this May onwards is competitively priced at $5.00, per pair. Supported by all six major studios, MasterImage has seen its theatrical market share rise 1200 per cent during the past 18 months because it offers superior digital technologies, along with a cost-effective, ownership-based pricing model. The stylish, reusable glasses do not require batteries and complement the company's single-use offering. "We are mindful of the environmental benefits afforded by reusable glasses and wanted to offer exhibitors options, so they can select the right product for their needs," said MasterImage's Peter Koplik. "With this new, market setting offer, Master Image will outfit theaters with multiuse glasses at less than one-fourth the cost of what competitors are charging for comparable alternatives."
Christie MicroTiles Launched in Australia Christie introduced its latest technology offering Christie MicroTiles to the market at its official Australian launch at the Melbourne Recital Centre recently. MicroTiles are modular digital display tiles that can be stacked and clustered like building blocks to create display walls of any shape or scale, using an entirely new, advanced optical design that produces unparalleled levels of brightness, contrast and colour reproduction. Christie, together with their Australian channel partners, VR Solutions, showcased six innovative MicroTile displays including the columns, Big O, 4x3, panoramic, 6 Sheet, Skyscraper to key industry contacts demonstrating their ability to create a virtually seamless digital canvas in almost any size or shape. Managing Director of VR Solutions, Michael Bosworth said he is excited to bring the world class technology to the Australian market while offering local support and training. "MicroTiles are a great product with so many applications; Creatives are no longer restricted to a rectangular display such as LCD screens. I have no doubt that MicroTiles will prove to be a disruptive technology in the Australian market," he said. The Christie MicroTiles system represents a huge step forward in large-format digital display technology, offering superior colour and image reproduction, the widest possible viewing angles, and a near absence of seams on display walls, with only a 1mm gap between the tiles. The groundbreaking LED- and DLP-based system is designed for long, reliable commercial use in public areas, with no lamps or other consumable parts to replace. The LED light engine, a key component of MicroTiles, is rated at 65,000 hours to half brightness usage, or nearly 7.5 years of continuous operation.
With a screen size of 16 inches (408mm) wide x 12 inches (306mm) high, the tiles also feature a shallow depth of only 10 inches (260mm) and require just 2 inches (50mm) of minimal clearance for rear ventilation. Christie engineers designed the MicroTiles to be fully and easily serviced from the front. The tiles are "self-aware" - meaning that timeconsuming and costly colour calibration needed to keep conventional "video walls" looking uniform, is automatically completed by the sensors built into the MicroTiles. While the engineering behind the display tiles is extraordinarily sophisticated, walls of tiles are controlled by a simple unit that processes the signal from the most popular digital signage and media players. Known around the globe for high quality digital projection systems, Christie has had its new tiles in R&D for two years. Technology and visual design experts who saw sneak previews last year have described the
system as "one of the wonders of the world in displays." "MicroTiles represent a distinct revolution in display technology, that allows users to create their own digital canvas or digital wallpaper," said Bob Rushby, the co-inventor and chief technology officer at Christie. "With MicroTiles, users can express their creativity and vision, and assemble the displays in ways that have previously been unattainable using current flat panel LCD, plasma or LED walls." The spectacular image quality and modular flexibility of the MicroTiles system opens up wide possibilities for companies charged with designing and creating large, vivid visual displays for architectural installations, out-ofhome advertising, event centres, command and control facilities and retail environments. MicroTiles can easily be incorporated to fit within the physical constraints or opportunities of a building and eliminate all the compromises made when using other display technologies.
Barco Launches Series-II Digital Projector Line Digital cinema leader Barco unveiled its brand-new line of Series-II digital cinema projectors. With this innovative DP2K product line, Barco builds on the proven benefits of its successful DP-series, while at the same time anticipating the 4K future and the spectacular rise of 3D cinema. "Since the dawn of digital cinema more than a decade ago, Barco has been leading the market with numerous industry-first innovations, including a sealed optical engine, a user-friendly modular design, fullpanel triple flash 3D technology, and many more breakthrough technologies," stated Todd Hoddick, Barco's Vice-President Digital Cinema in North America. "Our new DP2Kseries surpasses our competition by offering exhibitors the brightest and most cost-effective projection solutions available today." According to the company, the six new Series-II projectors are by far the most complete projector family available today. For small and mid-size movie theatres, there is a dedicated line of compact DP2K 'C-series' projectors, based on Texas Instruments' proven 0.98" DLP Cinema chip. Within this C-series, the portfolio includes individual models for screens up to 12, 15 and 20 meters wide respectively. For larger venues, Barco unveiled the ultra-bright DP2K 'B-series', integrating TI's 1.2" DLP Cinema chip. Dedicated models are available for screens up to 19 and 23 meters wide. Barco's flagship for the large chip range is its DP2K-32B, which is the brightest digital cinema projector on the planet, lighting up screens up to 32 meters wide at unrivalled light levels. All six projectors are fully compliant with the latest DCI and SMPTE specifications. Barco's DP2K-series integrates the next-generation DLP Cinema chip from Texas Instruments, ensuring consistent color uniformity, rich contrast and vibrant, accurate colors. Moreover, the new products are designed with a sealed optical engine
suppliers. Because of this, the lamp operating cost of the Barco DP2K is up to 30 per cent lower than our competitors, while still leading the way on light output. To reduce operating costs even further, the DP2K projectors also have the lowest cooling exhaust requirements in the industry and re-usable filters on all air inlets."
to prevent dust from intruding in the DLP Cinema chip. This guarantees the projector's brightness and contrast levels remain undiminished over the years. All of Barco's new cinema projectors share a common modular platform. For theatre owners, this modularity results in significantly reduced costs. Commonality of parts allows for a smaller stock of spare parts, and also speeds up technicians' learning curves. Depending on the exhibitor's preferred system configuration, the DP2K-series can be set up with either an integrated or external media block. To ensure easy operation in a networked environment, all DP2K projectors come with Barco's proprietary Communicator software. This user-friendly tool provides oneclick access to any model of the DP2Kseries, be it from a standard PC or from an optional touch panel. In a networked theatre complex, only one Communicator Touch Panel is needed to access and control any projector onsite and configurations can be cloned to any other projector. Furthermore, the system features an intelligent 'Diagnostics Companion' functionality, which, in case of a technical issue, guides operators through a number of steps to determine and solve the problem. A final element that received close attention throughout the development process was total cost of ownership. Says Wim Buyens, vicepresident at Barco Digital Cinema: "Barco DP2K-series uses standard short-arc bulbs available from multiple
Test of Compliance: 'Series 2' digital cinema projector has successfully passed the procedural test for DCI compliance administered by CineCert, the leading third party authorizing test facility. With these tests completed, Barco has reached another important milestone in the rollout of its brand-new DP2K projector series. The DCI standard was created by the Digital Cinema Initiatives, LLC (DCI) to ensure a consistent and extremely high image quality for the cinema audience. Additional benefits include content security and optical performance, including color, uniformity, and contrast. By establishing a common set of requirements, DCI standards guarantee worry-free compatibility and interoperability for distributors, studios, exhibitors, manufacturers and vendors. "We are very pleased to confirm the DP2K-20C is the first digital cinema projector to complete procedural testing in our lab," commented John Hurst CTO of CineCert, LLC. "It shows that DCI compliance testing is not only possible but also quite practical." "We are thrilled to be the industry's first digital projector manufacturer that has successfully passed the stringent assessment procedures carried out by the DCI approved testing agency, CineCert," Buyens said. "It is a reward for the rigorous quality and security standards applied in our labs during the development of this new DP2K projector series. For our customers, this will result in the most secure, high-quality and low-risk projector solution available today."
Barco's New Diagnostics Companion Barco announced its new Diagnostics Companion, an optional software module that enables users of Barco Series I and Series II projectors to identify, diagnose, troubleshoot and remedy error conditions - without technical support assistance. The Diagnostics Companion is integrated in Barco's Communicator software, starting with version 4.0. The Communicator runs as a standard PC application, or more conveniently, runs on Barco's Communicator Touch Panel, a multi-user projector control centre that's optimized for quick and efficient operations. The Diagnostics Companion works with Barco's DP-1200, DP-1500 and DP2000 Series I projectors. It was also shown on the new Series II projectors at ShoWest 2010. To obtain the Diagnostics Companion, current Series I users can upload the version 4.0 Communicator update. As an interactive module, the Diagnostics Companion runs in the background until needed. If an error condition occurs and the projector's red tail lights turn on, a pop-up message appears in the Communicator - informing the user about the specific condition. If more information is available, the user can click an adjacent icon, which automatically opens the Diagnostics Companion.
Within the Companion's window, comprehensive tables are provided that outline the situation and the solution. In addition, step-by-step troubleshooting procedures are provided, including detailed pictures of specific components. "If a problem arises, the majority can be solved using the Diagnostics Companion, without requiring Technical Support," said Andrew Gaweda, Product Manager at Barco Digital Cinema, North America. "As a built-in troubleshooting guide, the Companion actually empowers the user with a wealth of knowledge, right at their fingertips. It goes one step beyond basic error messaging, with clear diagnostics and proven steps to resolve problems." "The goal of the Diagnostics Companion is to enable users to perform on-site technical analysis, and to that end, the Companion succeeds brilliantly," said Todd Hoddick, Vice President of Digital Cinema for Barco NA. "With this application, and the intelligent power that it places right on the Communicator touch panel, a new and highly interactive level of diagnostics is immediately available across the Series I and Series II product lines. The result is greater up-time, and an increase in the customer's working knowledge of our projectors."
CRMS 3-Way Sound System from Alcons European audio major Alcons Audio recently introduced its latest cinema sound system- the new CRMS 3-way reference cinema sound system. Alcons developed the Cinema Ribbon Monitor System as reference-quality sound reproduction system for sound-forpicture applications, with fully matched loudspeaker, processing and amplifier components. The first system has already been installed in the Norwegian Film Institute. According to the company, following its tremendous success in its current
markets worldwide, it decided to expand and diversify into a completely new market segment to make the already popular proribbon technology available for other markets as well. "We've been working on this for the last three years and, with the current market status in mind, we thought the time had come to turn this research into development of a new range of solutions," says Tom Back, Alcons Audio MD. "We see the result as 'the evolution of sound reinforcement' and it marks the next step in the position of Alcons in the pro-audio market."
Meyer Sound’s Immersive ‘Cinema Experience’ At this year’s Cinema Expo International in Amsterdam, Meyer Sound will introduce Europe’s movie industry professionals to Cinema Experience - the company’s integrated line of powerful, linear cinema sound systems. The Acheron-based Cinema Experience promises a dramatically improved listening experience to match today’s high-definition visual and keep customers returning to the theatres. ”With the rise of 3D imagery, people are realizing that watching a movie at home doesn’t compare to the shared experience and impact from being in a theatre, and this of course includes the sound,” says John Meyer, CEO of Meyer Sound. “Having an audio system that is loud is not enough for movies,” he says, adding, “you need one that is capable of reproducing all the information in the tracks so that the audience can have the full experience as intended by the film creators.” Since the 2009 debut of Meyer Sound’s Cinema Experience, commercial theatres such as the Estonian Solaris Complex and the Gulf Breeze theatres in Florida have harnessed the power and transparency of the systems to give customers an immersive movie experience. An array of renowned post-production facilities have also upgraded to the Cinema Experience, including London’s legendary De Lane Lea, as well as Skywalker, ImageMovers Digital, Zoetrope and many others. Attendees of the Cinema Expo 2010 are invited to hear the Cinema Experience in live demonstrations hosted in Suite B by Düsseldorf, Germany-based FTT, one of Meyer Sound’s cinema dealers. The demonstrations will feature Meyer Sound’s Acheron Studio loudspeakers, HMS-10 surround loudspeakers, and X800C subwoofers, with a D-BOX cinema seating system adding to the realism. July-September 2010
DLP Cinema Passes CineCert Test Texas Instruments announced that all DLP Cinema subcomponents for DLP Cinema 2K and its upcoming Enhanced 4K platforms have recently completed testing for Digital Cinema Initiative (DCI) standards by passing the procedural test administered by CineCert, the leading third-party authorized test facility. This is the most significant step in achieving full compliance of the DCI standards, and DLP Cinema is the firstever projector technology to achieve this status. This enables DLP Cinema's OEM licensees, Barco, Christie Digital and NEC, to complete final testing of their new DLP Cinema next-generation electronics platform models and ship in the coming months. "Having reached this major milestone, we are unwaveringly confident that our OEMs will be able to ship compliant DLP Cinema 2K projectors in the very near future," said Nancy Fares, business manager for Texas Instruments, DLP Cinema Products. "These latest projector models will have a seal of security while upholding the unmatched advantages of the DLP Cinema platform." DLP Cinema's next-generation electronics platform utilizes the same highly reliable DLP Cinema chipset and integrates high security requirements, quality control and specification architecture defined by DCI. "We are very pleased to confirm that the DLP Cinema next generation platform is the first device to clear procedural testing in our lab," said John Hurst, CTO of CineCert. "Our goal is to facilitate and guide manufacturers, integrators and exhibitors on the technical details and testing required for compliance. DLP Cinema-based projectors are expected to meet each requirement to ensure the highest quality motion picture experience." Award-Winning and Cost-Effective Technology: Recently, the Academy Board of Governors bestowed the 2009
Scientific and Engineering Award (Academy Plaque) to four individuals responsible for the colour accuracy of DLP Cinema projectors. D. Scott Dewald, Greg Pettitt, Brad Walker and Bill Werner were recognized for their contributions furthering the design and refinement of the DLP Cinema projector, achieving a level of performance that enables colouraccurate, digital intermediate previews of motion pictures. "DLP Cinema has set the industry standard for superior contrast ratios and colour accuracy to produce images the way the filmmaker intended and
moviegoers expect," said Richie Fay, President of Domestic Distribution, Summit Entertainment. "When displayed on DLP Cinema, the story comes to life and audiences can now experience our movies like they never have before." To produce cost-effective solutions to theatres, lamps for DLP Cinema projectors are less expensive to replace, last longer and save energy by consuming less power as opposed to competing technologies. DLP Cinema delivers power consumption advantages with energy- efficient lamps as low as 1.5 kW. DLP Cinema projection systems are installed in nearly 19,000 screens worldwide, setting the industry standard as compared with other technologies that reference future potential installations. Over 10,000 screens worldwide offer DLP Cinema digital 3-D technology.
Sonic Equipment in Pact with Christie Christie announced that the Sonic Equipment Company has signed a major agreement with Christie Managed Services that will provide Sonic's customers with a wide-ranging new tier of technical support and maintenance that includes end-to-end turnkey solutions and a la carte service. Sonic's expanded technical resources will be available to current customers - already at more than 400 screens - as well as all future customers across the Midwest and beyond. "Sonic is coming off one of its best years ever and, with hundreds of additional deals in the pipeline, we're already on pace to break our installation record again in 2010," remarked Eric L. Olson, Director of Operations for Sonic. "Our partnership with Christie Managed Services will assure our customers, not just the best choice of technology, but the best choice of service to meet their specific
needs for every single system we install." Christie Managed Services' expertise is drawn from more than 80 years of experience working with the exhibition community. It runs the gamut from planning, procurement, logistics, and pre-staging, to integration and implementation of system rollouts. It also offers a diverse menu of customizable predictive and preventative technical support and ongoing maintenance. At the heart of the service is a new, state-of-the art Network Operations Center (NOC) running 24/7. The NOC monitors, maintains, and services tens of thousands of digital devices across North America and is easily scalable to support tens of thousands more. Mike Covey, Digital Cinema Manager at Sonic, added, "Sonic's success is also a direct result of providing our customers with latest technology, and
that includes the new 4K-upgradable Christie Solaria Series DLP Cinema projectors." "The ability to service and maintain their new, high tech digital cinema systems is an important factor for independent theaters seeking to go digital and reap the full benefit of 3D cinema," said Sean James, Vice President, Managed Services at Christie. 100 Solaria Projectors Ordered: Christie announced that Sonic Equipment Company has ordered 100 Christie Solaria Series 4K-ready Series 2 digital cinema projectors. As part of the Cinedigm Phase 2 digital cinema deployment plan, Christie projectors will be installed in theatres across the United States, to upgrade existing multiplexes and as part of new theatre constructions. Kansas-based Sonic Equipment Company, which also offers full-service consulting, remodelling and new construction to motion picture exhibitors, is also a certified reseller of Christie digital cinema projectors. With over 400 screens across thirteen states, they have been rapidly expanding over the past several years to become one of the industry's fastest growing companies. Christie is a major partner in Sonic's highly successful digital rollout strategy, which calls for the installation of hundreds of additional projectors in many new locations this year. Sonic Equipment chose the Christie CP2220 and Christie CP2230 Solaria Series digital cinema projectors for the features that independent exhibitors want most - brilliant picture quality, the lowest cost of operation, and a proven track record of reliability.
SMG, Christie in 4K Digital Deal Christie announced that Studio Movie Grill (SMG) has selected its 4K-ready Solaria Series digital cinema projectors for 60 screens in multiplexes across Texas, Missouri and Georgia. SMG audiences watch the latest first-run movies while enjoying restaurant-style table service with upscale foods that include gourmet pizza, BBQ ribs and fresh salads. SMG pioneered the in-
theatre dining concept and is considered the number one theatre of its kind in Texas for close to 10 years. The chain will install the Christie CP2220 and Christie CP2230 projectors, which are based on Texas Instruments' Series 2 DLP Cinema technology and are fully upgradeable to 4K.
Christie, with whom we have always had a great working relationship. They also share our vision for the next generation in movie going, and their superior quality products represent not only the future of cinema but an unrivalled viewing experience for our customers."
SMG is recognized for continuously raising the bar on the quality of entertainment outside the home. It strives to provide audiences with a total immersion of their senses that includes great tasting food, exceptional service, and a spectacular movie-viewing experience.
Craig Sholder, vice-president of Entertainment Solutions for Christie, noted, "SMG has truly thought of everything. They have transformed their cinemas into the ultimate destination for out-of-home entertainment - it doesn't get much better than full service treatment, dinner and a spectacular feature presentation."
"The contrast and brightness of Christie digital cinema projectors are unparalleled. We foresee a much lower cost of operation while providing a new level of excitement for our audiences, especially with all the great new 3D movies coming down the pipeline this year," remarked founder and President, Brian Schultz of Studio Movie Grill. In addition to retrofitting all existing theatres across Texas, SMG will also install Christie projectors in two new theatre complexes - Zona Rosa in Kansas City, Missouri, and Holcomb Bridge in Atlanta, Georgia - which will be completed this spring. All theatres will have the latest 4K-ready Christie CP2220 and Christie CP2230 projectors featuring Academy Award winning DLP cinema technology. "SMG is making the investment to go all-digital to ensure that customers enjoy an enhanced cinema experience. With 35 per cent of our screens currently featuring 3D, we look forward to displaying the most vivid images, and benefiting from the more efficient optics and lower lamp wattages of Christie projectors," said Schultz. "SMG is proud to partner with a company of the caliber of
Cinedigm Closes $172.5 Million Credit Facility Cinedigm Digital Cinema Corp. announced the closing of a $172.5 million credit facility co-led by Société Générale Corporate & Investment Banking and GE Capital Markets. This new credit facility will refinance all existing senior and mezzanine nonrecourse debt in the company's Phase 1 deployment subsidiary, Christie/AIX, through a newly formed bankruptcy remote subsidiary called Cinedigm Digital Funding I, LLC. The facility has received a provisional rating of Ba1 from Moody's Investor Service. The new credit facility will replace the Company's credit facility led by GE Capital Markets in 2006. The new six-year term loan, provided by a syndicate of 19 institutional lenders led by Société Générale and GE Capital Markets, will be at a rate of LIBOR +350 basis points with a 1.75 per cent LIBOR floor, improving upon the previous rate of LIBOR +600 basis points with a 2.5 per cent LIBOR floor. This new facility significantly improves upon the terms of the previous credit facility through a combination of reduced borrowing costs to Cinedigm Digital Funding, a more flexible covenant package, a 32-month maturity extension and improved free cash flow to support the payment of service fees to Cinedigm Digital Cinema Services.
"We are very pleased to complete this refinancing and to have a provisional rating of Ba1 by Moody's," said Bud Mayo, Chairman and CEO of Cinedigm. "This successful refinancing of our existing debt reaffirms the value of the Phase 1 digital cinema asset base and the critical role Cinedigm plays in driving the exhibition industry's conversion to digital cinema." Adam M. Mizel, CFO and Chief Strategy Officer of Cinedigm, added, "this refinancing marks the next step in our efforts to strengthen Cinedigm's balance sheet, to improve our access to capital and to continue to position the Company for growth. We appreciate the strong capital markets execution and lending support from our long time partners at Société Générale and GE Capital." "We are excited to have successfully delivered institutional investor commitments for the refinancing of Cinedigm's Phase 1 digital cinema deployment," said Richard Knowlton, Managing Director, Sociéte Générale, Leveraged Media and Telecom Finance. "Together with GE Capital, we have expanded funding options for the Company's current and future digital cinema rollouts."
Barco to Digitize Malco Cinemas Barco announced an agreement with Malco Theatres Inc., headquartered in Memphis Tennessee, in which it will provide Series 2 projectors for all 320 screens in the Malco circuit. Installation of the new projectors will commence in late summer 2010. Malco Theatres Inc., is a family-owned fourth-generation company that continues to be nationally recognized as a leader of the industry for their innovative techniques and special attention given to sight, sound and patron comfort. With over 320 screens in over 30 locations in Arkansas, Kentucky, Mississippi, Missouri, and Tennessee, Malco Theatres is one of the nation's most venerable movie exhibition chains. As a pioneer in digital cinema, Malco installed their first Barco digital cinema projector in
the early 2000s. Now, at a time when moviegoers are seeking out the finest audio/visual experience with uncompromised 3D quality, Malco chose to go 100 per cent Barco for every screen in their circuit. Barco's six new Series 2 projectors support 2D and 3D projection, and represent, by far, the most complete projector family available today. In addition to advances in software, diagnostics and patented cooling, all Series 2 projectors include enhanced security features as mandated by the Digital Cinema Initiative (DCI). With a perfect match for every screen, Barco leads the way with the brightest and most cost effective projection solution available today. For Mike Thomson, CTO of Malco Theatres, their all Barco decision was based on performance, versatility and serviceability. "The new Barco Series 2 models put out a brighter picture than any other projector," explained Thomson. "With 3D, it's all about bright images, and by far, the new Barco projectors are the brightest on the market, making them ideal for 3D." The Malco CTO also noted that Barco's software and product design facilitates the industry's fastest and most accurate projector set-up. "We pioneered the use of dual projectors for 3D, and Barco is by far the easiest for doing a dual convergence. Barco's also been great about making the technology as easy to use as possible, and that's important because we do most of our own servicing," he added. Thomson, in fact, played an important role in developing Barco's latest projector line. As qualified and trusted industry associates, Thomson and his team provide Barco's engineers with valuable feedback and suggestions for future enhancements - several of which are now incorporated into Series 2. According to Joe DeMeo, Director of Sales for Barco Digital Cinema, NA, feedback of this nature is an essential component of Barco's on-going efforts to improve its product lines. "Malco is one of our long-standing digital cinema customers, and they're
among the very first circuits to go digital," said DeMeo. "Our relationship with Malco is based on our mutual passion for providing the very best viewing experience for moviegoers. To us, this latest agreement represents more than the sale. It's about moving forward with a digital cinema pioneer as a technology partner, and one who provides us with essential feedback and suggestions for our next generation products. Malco is 100% committed to our technologies as we are to them."
Movie Tavern to Shine in Barco Projection Barco announced an exclusive agreement with Dallas, Texas-based Movie Tavern for the conversion of their remaining 104 screens - those that had not already converted to Barco. With this strategic move, Movie Tavern is 100% digital and exclusively Barco. Conversions began in April 2010, with full deployment scheduled for completion by December 2010. As part of Cinedigm's Phase 2 digital cinema deployment program, Movie Tavern will use projectors from Barco's new Series-II line, and servers supplied by GDC Technology. Within Series-II, there are three projector models in the DP2K "B" series and three in the "C" series. For Movie Tavern's small and mid-sized venues, Series "C" is ideal, using Texas Instruments' 0.98" DLP Cinema chip. For the large-scale auditoriums in the Movie Tavern circuit, Series "B" gets the nod, based around Texas Instruments' 1.2" DLP Cinema chip. Barco projectors will be used with Cinedigm's Library Management Server™ and Theatres Command Center software to enable Cinedigm Certified digital cinema
systems. These projectors will be connected to central library servers which will store content and will use Cinedigm-developed software to manage and program each auditorium's playlists from a central location using the movies, trailers, advertising and other content stored on that central server. Dubbed the ultimate 3D machine, the Series-II flagship is the new DP2K-32B, delivering the industry's brightest images. All six Series-II models support both 2D and 3D projection, and each includes next-generation electronics designed specifically for DLP Cinema Enhanced 4K. In addition to advances in software, cooling, and convergence, all Series-II projectors also include enhanced security features as mandated by the Digital Cinema Initiative (DCI). Recently the Barco Series-II projector has become the first digital cinema projector to pass a major DCI compliance testing milestone. For the exhibitor, these factors translate to the industry's finest digital projection technology, the highest degree of reliability, and the lowest total cost of ownership. In the contemporary theatre industry, Movie Tavern is part of a growing and very popular trend that combines movie-going with full service
restaurant-style dining - in comfortable boutique settings. Movie Tavern currently operates these unique venues in Texas, Georgia, Virginia, Kentucky and Ohio, with further expansion planned for additional markets in their circuit. "Movie Tavern is committed to giving its guests the very best film presentations possible," said John Hersker, CEO and President of Movie Tavern. "We also know that Barco shares that commitment, and we're excited to partner with them to achieve our full digital cinema conversion." "Movie Tavern is an exciting and dynamic concept designed to give patrons a combination of high quality dining and a premium movie-viewing experience," noted Patrick Lee, Director of Business Operations, Barco Digital Cinema, North America. "Movie Tavern is a company that's all about innovation. Their commitment to our Series-II demonstrates the desire to give their customers the finest viewing experience possible, and also emphasizes Barco's ability to match the right projector to the right auditorium. On behalf of the entire Barco team that's handling Movie Tavern's installation, we're looking forward to partnering with them on their Series-II deployment."
R/C Theatres to be Powered by Barco Barco announced that Marylandheadquartered R/C Theatres selected Barco Series-II projectors for installation in three cities across their circuit. A total of 42 projectors will be installed at multiplexes in Wilkes-Barre PA, Hanover PA, and Kill Devil Hills, NC. As one of the nation's top 30 exhibitors, R/C selected Barco based on the company's innovative technology, the complete family of Series-II projectors, and the lowest total cost of ownership in the industry. With deployment commencing in May and full deployment expected by Q4 2010, R/C's installation is part of Cinedigm's Phase 2 digital cinema deployment program. Barco's turnkey installation and warranty service, which also includes servers by GDC
Technology, will be supported by Barco's NOC (Network Operations Center) and 24/7/365 Call Center. Based on Barco's complete Series II family and R/C's mix of screen sizes and throws, this agreement highlights Barco's ability to match the right projector to the right screen. Barco's six new Series II projectors support 2D and 3D projection, and represent, by far, the most complete
projector family available today. The three models in the "C family" are designed for small and mid-sized venues - each with Texas Instruments' 0.98" DLP Cinema chip at the core. For mid- and large-sized screens, Barco's remarkably bright "B family" uses Texas Instruments' 1.2" DLP Cinema chip. The bottom line for Series-II is clear - with the ability to provide the right projector for the right screen, Barco's new lineup ensures the best possible cinema experience for R/C's cinema audience. "We've been working hard with Barco and Cinedigm to realize this deployment, and we're very excited that Barco's Series-II fits our mix of theatres so perfectly," said Scott R. Cohen, CEO of R/C Theatres. "The conversion to digital is the best thing to happen to our business in years, and our partnership with Barco, both in technology and service, is guaranteed to yield great results." "As the founders of the R/C brand, the Cohen family has been setting standards in movie exhibition since the 1932," said Scott Freidberg, Vice President of Sales for Barco Digital Cinema. "Because R/C has always been the primary champion of the independent exhibitor, their choices are closely watched by their peers. I'm so pleased to see R/C Theatres validating the Barco model of high operational performance, low cost of acquisition, and superior customer interface."
Starplex, Barco in Digital Pact Barco announced an exclusive agreement with Starplex Cinemas of Dallas, Texas, in which 123 additional screens will be converted to digital cinema using Barco's new Series-II projectors. As part of Cinedigm's Phase 2 digital cinema deployment programme, conversions commenced in April 2010, with full deployment expected by November 2010. Barco's turnkey installation, which also includes servers by GDC Technology, will be supported by Barco's Network Operations Centre (NOC) and 24/7/365 Call Centre.
The deployment will be on similar lines as that with other cinemas, i.e. the small and mid-sized cinemas will be equipped with Barco's new DP2K-C series projectors that have TI's 0.98" DLP Cinema chip at the core while the new DP2K-32B projector, which uses 1.2" chip will go into installs at larger veneus. All six new Series-II projectors include next-generation electronics, specifically designed for DLP Cinema Enhanced 4K. These projectors will be connected to central library servers which will store content and will use Cinedigm-developed software to manage and program each auditorium's playlists from a central location using the movies, trailers, advertising and other content stored on that central server. Starplex Cinemas has a history of success with Barco digital cinema projectors, beginning with their first installation in 2008. Since then, Barco has provided Starplex with digital cinema solutions for every screen scenario, and their management and technical teams have also benefited from their close one-to-one relationship with Barco. "Starplex is excited about the continued relationship with Barco," remarked Steve Holmes, CEO of Starplex Cinemas. "Since our first conversion to digital, the entire Barco team has provided us with excellent support and service. Based on this proven track record, Barco was the clear choice for Starplex to convert our entire circuit."
Movico Goes Beyond Movies with Sony 4k Muvico Theaters, one of the earliest adopters of Sony digital cinema 4K technology, completed the current phase of its digital conversion. The exhibitor now has five cinemas equipped with Sony 4K digital cinema technology for a total of 89 screens, of which 17 are outfitted for 3D by combining Sony's single-projector 3D lens system with RealD 3D technology. In addition to 3D, Sony's Digital Cinema Solutions and Services (DCSS) group has actively provided Muvico's locations with alternative content
definition in cinema," said Hal Cleveland, President and CEO of Muvico. "Sony has leveraged its entire breadth of resources to help us offer diverse alternate content programming, enhancing what is already a unique movie-going experience." programmes focused on in-theatre gaming and digital cinema music events. Muvico successfully led a Sony PlayStation gaming in-theatre event at two key locations in Chicago and Los Angeles for the gaming title, Uncharted2: Among Thieves. Following the game event, Muvico also participated in the pilot Digital Music Series, hosting a special live appearance of band members from 'Creed' at its West Palm Beach location to screen the band's DVD prior to release date. The DVD screening premiered at 139 theatre locations, also provided a rare opportunity for Muvico attendees to meet the band prior to the screening and participate at the theatre. "Muvico continues to be at the forefront of technology, utilizing Sony 4K projection, to provide the highest
For Sony, Muvico is more than just a 'movie theatre chain; it's a total entertainment company. Says Gary Johns, senior vice president of Sony's digital cinema division: "Its vision for the modern movie theatre is farreaching, and extends beyond the auditorium and into the lobbies, restaurants, and more. We're thrilled to be working with such a groundbreaking organization, providing them with the best technology foundation as they move forward with their 4K digital conversion." Muvico locations continue the exhibitor's 'premier concept,' of drink, dine and watch offering such services as VIP reserved seating for guests 21 years and older, complimentary popcorn, and Bogart's full-service restaurant and bar while enjoying the latest blockbuster in Sony 4K technology.
JBL's Innovations in 3D Cinema Sound With new emphasis on 3D, and the necessity of large-scale digital audio increasing like never before, audio major JBL is continuing its tradition of innovation with a comprehensive range of large format cinema sound systems specifically designed to enhance the 3D experience. According to Chuck Goodsell, JBL Director of Cinema, the company's R&D, product development and application engineering teams have worked closely with exhibitor clients across the globe to ensure that their JBL
sound systems coupled with 3D display technologies would deliver the most immersive cinematic experience possible "3D cinema demands the best digital sound systems," Goodsell says, adding "at JBL, we've always built the best sounding, most
reliable cinema sound systems, and we've also collaborated with our exhibition customers to help them stay ahead of the trends. This is why most of the world's flagship 3D theaters are JBL-equipped and why our cinema customers are among the best-prepared to capitalize on 3D." Goodsell points to the range of new JBL ScreenArray 4-Way high power loudspeakers for large-format venues and its 4732 and 3732 ScreenArray loudspeakers that, coupled with the industry's most complete line of subwoofers and surround components, have become a standard in cinema today. No other manufacturer provides a wider, more cost-effective range of
solutions to capitalize on the opportunity of 3D cinema than JBL: the company's systems are developed by a team of AMPAS Scientific & Technical Awardwinning engineers and incorporate ground-breaking, patented innovations such as Differential Drive woofers, neodymium, titanium diaphragm frequency compression drivers and highfrequency horn technology featuring Screen Spreading Compensation. Among the world's most iconic, successful theatres with 3D display technology are Mann's Chinese Theatre and the ArcLight Cinerama Dome in Hollywood, both of which
feature JBL ScreenArray sound systems. Also in the United States, Cinemark, Extreme Digital Cinema locations throughout the country and the Muvico, Thousand Oaks, California are all JBL large format installations and showcase 3D theaters. In London, The Odeon and the neighbouring Empire in Leicester Square are long-time JBL sound system venues and among the foremost 3D sites in the UK. Sofia, Bulgaria's Arena Cinema and the Major Cineplex World Plaza, Bangkok, Thailand are two more examples of industry-leading iconic theatres that have become 3D showcase venues and also boast ScreenArray sound systems from JBL.
Guzzo Chain Digitized by Christie Christie announced that Cinemas Guzzo, a Canada-based leading independent cinema chain has purchased 57 Christie Solaria series digital cinema projectors. Cinemas Guzzo, a family owned business founded in 1974, with 148 screens in 11 theatre complexes throughout the Montreal area, has launched several waves of expansion - the most recent being a new generation of avantgarde entertainment centres.
moving forward with Christie as our exclusive digital cinema provider because of their extensive history of delivering reliable products, along with friendly and supportive service to the exhibition community."
Founder Angelo Guzzo is one of the earliest pioneers of independent multi-screen movie theatres in Canada. He was instrumental in leading the struggle for independent theatre owners to obtain the right to project first-run movies, paving the way for others. Along with his son Vincenzo, Executive Vice-President of Cinemas Guzzo, they are tapping into their passion for cinema to successfully expand their presence across Quebec. Over the next few years, they anticipate opening three new 100 per cent digital multiplexes, all using Christie projectors.
Installation began in January of this year and Cinemas Guzzo anticipates that all 57 Christie Solaria projectors of which 30 are Christie CP2230's will be fully deployed by November, in time for the U.S. Thanksgiving holiday weekend. At that point, they will have doubled their 3D capacity in all 11 theatre complexes. Cinemas Guzzo also selected GDC servers and Master Imaging's 3D technology.
"Christie is the only manufacturer that has 4K-upgradeable digital cinema projectors that not only deliver exceptional performance, but are available at an affordable price," said Vincenzo Guzzo. "We are confidently
"With digital 3D cinema taking the world by storm, Christie ensures the brightest images and proven performance for 3D presentations,"
remarked Dave Muscat, Sr. Director of Sales, Christie Digital Systems Canada, Inc. "Pioneering independent exhibitors like Cinemas Guzzo can enjoy the widest range of cost-effective solutions to meet their current needs and future plans." July-September 2010
Cinedigm to Double Up Satellite Cinema Count Cinedigm Digital Cinema Corp. announced that it plans to more than double its network of satellite-enabled theatre locations across the United States by deploying an additional 300 locations by the end of 2010. This will increase Cinedigm's industry leading satellite-enabled theatre network to more than 575 locations. Satellite-enabled theatres represent the best-of-breed in modern exhibition. In addition to their ability to receive the latest theatrical content via satellite - which limits the carbon footprint of Hollywood distribution, among other benefits - they can also receive and present live events, such as sports. To present live events, theatres can add CineLive capability to their satellite infrastructure. Only 100 locations across the USA currently have this capability. That number will grow in tandem with this rollout. This elite group of theatres is equipped to bring live 2D and 3D events such the 2009 BCS Championship Game, the 2009 NBA All-Star Saturday Night events, and most recently, the 2010 NCAA Final Four and Championship games. In addition to feature movies and alternative content, the Cinedigm satellite network delivers trailers, screen advertising, and encryption keys all via satellite, improving upon the less efficient need to deliver such content to theatres via truck. "Satellite delivery is the most secure, the most efficient and the most environmentally friendly way to deliver movies and other content to theatres. Throughout the motion picture industry there are strong advocates leading the charge to be more 'green.' We expect that Cinedigm's network expansion will serve as a catalyst for studios and independent distributors to embrace the many benefits satellite delivery brings to exhibitors and the environment," said Chuck Goldwater, President of Cinedigm's Media Services Group.
"Cinedigm's Digital Media Services Group delivers hundreds of pieces of content each week on the safest, most robust, and fastest satellite network in the cinema industry with exceptional reliability track record," said Gerd Jakuszeit, President of Cinedigm's Digital Media Services Group. "As the rollout of digital cinema theatres accelerates the addition of these satellite systems will enhance Cinedigm's ability to deliver content securely and cost effectively to even more locations." Six More Exhibition Cos.: to be degitized Cinedigm Digital Cinema Corp. announced the signing of six CBG member exhibitors, representing 94 screens, to its 10,000 screen Phase 2 digital cinema deployment programme. With these additions, Cinedigm will have contracted almost 400 CBG-member screens to participate in Phase 2. All the members of the National Association of Theatre Owners' (NATO) Cinema Buying Group (CBG) are eligible to work with Cinedigm using a master license agreement developed especially for CBG members. The CBG represents more than 600 members that collectively have over 7,000 screens. Cinedigm has created several financing options in its Phase 2 digital cinema deployment programme, which provides opportunities for smaller exhibitors to participate. In addition to
vendor sponsored options, such as Barco's Deliver Digital programme and NEC's NEC-Financial, EFA Partners and Infuse Commercial Capital joined to develop a unique SBA-guaranteed loan programme for small exhibitors. All these programmes are designed to support exhibitors that want to pursue the self-financing option under Cinedigm's Exhibitor-Buyer deal structure. Under this plan exhibitors select and purchase Cinedigm Certified fully-networked digital cinema systems and Cinedigm manages the reporting, billing and collection of VPFs from movie distributors, receiving fees for doing so. Cinedigm and the CBG have system supply and service arrangements with Barco, Christie, NEC, as well as with a growing number of local and regional dealers and service providers. AJAY Theatres, based in Memphis, Tennessee, already a customer of Cinedigm's screen advertising business, UniqueScreen Media, is the largest of the six with 56 screens in four locations. AJAY will be purchasing Cinedigm Certified digital cinema systems including Barco projectors for all 56 screens. Other independent exhibitors include: West Orange 5 with five screens in Ocoee, Florida; Athena Grand with 11 screens in Athens, Ohio; Great 8 Cinema with eight screens in Union, Missouri; Sullivan 6 Cinema with six screens in Sullivan, Missouri, and Keystone Cinema with eight screens in Bardstown, Kentucky.
Digital Europe, Cinematically With the digital buzzword getting increasingly pervasive, cinematic world is fast changing its exhibition profile. With Technology and business models too finding a smooth interoperability, effecting a new business dynamic altogether, there is a continental shift taking place in global cinema exhibition industry- towards digital cinema. Charged up with this momentum, Europe with all its advancement and sophistication coming to place - is now a whole big digital entertainment domain, surging ahead with an astronomical rate of digital conversion. A TW perspective: Even as the world markets and businesses were struggling to recuperate from the effects of global recession throughout 2009, one domain that did not seem to have ever known doom was that of the digital cinema. With the new found fancy on 3D digital catalysing already consolidating business dynamics, cinema markets across the globe braced up the digital exhibition with manifold rapidity. Such was the hoopla that the fourth quarter of 2009 alone, towards the end of which the James Cameron epic Avatar release was slated, saw as many as 2000 digital installs. More, the 3D digital screen count during the same period increased by 2600 which meant that over 600 existing conventional or 2K digital screens had been upgraded to 3D digital. According to DLP Cinema, the overall digital cinema screens in the world totalled to as many as 15, 571 by the end of Q4 of 2009, up from 13,587 screens existing during Q3. The number of 3D screens increased from 6870 to 9474 during this period. The screen count includes those by Sony SXRD which stood at 1187, up from 774.
Interestingly, it was outside North America - the breeding ground of digital cinema - that the 3D excitement has soared by phenomenal percentages. Europe zoomed past the world growth rates by an astronomical rate of over 5600 per cent - from mere 103 screens in Feb 2006 to as many as 5,791 screens by May 2010. It is however, followed by Latin America with over 3700 per cent - from 18 screens to 679 screens - and Asia Pacific by over 1600 per cent - from 245 screens to 4.051 screens - during the same period. This, against the US growth rate of around 1000 per centfrom 786 screens to 7947 screens- a clear indication of digital dynamism outside the affluent American continent. Major part of the growth has, however, been accounted for by 2009, considered by many as the year of 3D renaissance! For Europe in particular, number of screens equipped with digital projection systems - both by DLP Cinema and Sony SXRD technology - by 31 December 2009 totalled to 4,693, a clean 207 per cent growth over that of 2008, as per a survey by MEDIA Salles, the European Union media agency focussed on theatrical distribution of movies in the
region. The agency surveyed as many as 34 countries from across the European continent considered potential for digital cinema. Obviously, 3D proved to be the key growth driver for digitisation of screens as well as for overall box office. The European Audiovisual Observatory also estimated that gross box office for the European Union increased by 12 per cent year-on-year to a new record high of EUR 6.27 billion in 2009, primarily due to premium prices for 3D screenings. According to MEDIA Salles, Western Europe accounted for as many as 3,904 screens, with almost 200 per cent increase compared to December 2008. The five leading markets in Europe in terms of admissions are also those with the highest number of digital screensFrance leading with 19.3 per cent, followed by the United Kingdom, Germany, Italy, and Spain with 14.2, 12.6, 9.1 and 5.1 per cent growth respectively. Interestingly, the Eastern Europe recorded higher growth than its Western counterpart at over 260 per cent growth with 789 total digital screens spread across the region, including the Mediterranean Rim. Russia led with almost half the count
SPECIAL FEATURE with 352 screens accounting for 7.5 per cent of total European count, followed by Poland with 176 screens (3.8 per cent) and Turkey with 62 screens (1.3 per cent). According to another survey by Screen Digest, Europe totalled 4,580 digital screens out of the total 37,600 screens, with France leading the race converting as many as 959 out of its total 5,440 screens. Compared to the total number of screens in Europe, at December 2009, digital screens achieved a market penetration of 13 per cent, as against 4.1 per cent the previous year- as shown in Table 1. The number of digital sites in Europe at December 2009 was 2,374, with a 191.3 per cent rise over the previous year. The total market penetration of digital sites amounted to around 16 per cent as against 5.4 per cent in December 2008. Also on the increase is the average number of screens in digital sites which rose in Europe from the 1.6 screens per site registered in December 2007, to 2.0 in December 2009. The average number of digital screens per cinema varies a good deal in
Average screen per site
Degree of penetration of digital screen
Degree of penetration of digital sites
Source: Media Sales
Table 1: Digital cinema sites and screens in Europe 2003 - 2009 (as at 31 December) individual European countries. In December 2009, the highest figures were recorded in Belgium with 5.3 screens per cinema, followed by Luxembourg, Austria, France, and Portugal with 4.4; 4.2; 3.5; and 3.4 per cent in that order. The leading markets of UK, Germany, Italy and Spain, however, remained at distance- 1.9; 1.8; 1.5; 1.3 per cent in the same order. Observed from a long-term perspective, the trend of European digital journey displays varied parameters. Countries like the United Kingdom and Germany have recorded a strong tendency towards growth ever since 2006 and, after a period of deceleration, started to grow again in
2009. Other countries have experienced more gradual development followed by an exceptionally sharp increase over the last few years: since 2008 in the case of France or 2009 in the case of Belgium, Italy, Austria and Spain. Yet other countries, such as Finland and Portugal, have concentrated their development in the recent period, with an annual yearly increase that has been particularly high over the past three years, amounting to 263.4 per cent for Finland and 230.8 per cent for Portugal. The overall growth considered since the beginning period of digital hype - post release of Chicken Little in late 2005 - therefore
3D: Digital Dooms Day? It couldn't have been a better tangent, or so it appears. As irony would have it, even as the European cinema is hyped to be leading global transition to digital cinema, a significant section of the same geography is apparently battling a life-and-death situation. Faced with the challenge of inaccessibly expensive conversion to digital format, the fate of many smaller, independent cinemas in Europe is said to be heading for a digital dooms day- a 3-D cinematic story of a different kind! A TW perspective: Even as the Cannes Film Festival was entertaining global glitterati and delegates, just as it did to millions of television audiences across the world, a section of the event participants was seriously debating a life and death issue of an important member. A technical session sponsored by the Council of Europe centered its topic the spate of digital conversion of cinemas and the fate of a majority smaller cinemas that is unable to upgrade due to financial inabilities or inadequacies.
According to sources, and several reports, the case is best exemplified by the classic cult movie house, the Prince Charles Cinema in London's Leicester Place which had been struggling to pay for its digital upgrade costs. A poor cousin of neighbouring Odeon, the popular art cinema is reported to be stretching beyond its capability for the inevitable conversion. The two-screen cinema - with a 285seat upper stall and a 104-seat down stall - entertains movie lovers with a
mix of cult, art, and classic movies alongside the Hollywood releases. However, it stands to lose its ground now due to the pervading digital onslaught. While one screen is upgraded (with dues to be cleared), the other one awaits a generous hand of fund. The hapless cinema though is not alone in its misery- as majority of the 37,000-plus cinemas across Europe are facing a similar threat. Under an apparent cultural seize by the
SPECIAL FEATURE appears phenomenal as shown at the beginning of this feature. Another trend is that the development of digital screens seems to be highly concentrated in terms of exhibition companies- by June 2009, as much as one-third of total digital conversions have been accounted for by just five exhibitors. The top five players included French company CGR, which led with 13.1 per cent digital screens, Kinepolis (6.8 per cent) operating in Belgium, France and Spain; Cineworld Group (5.6 per cent), present in the UK and Ireland; Odeon and UCI Cinemas Group (4.8 per cent), operating as Odeon Cinemas in the UK, as UCI in Austria, Germany, Italy and Portugal and as Cinesa in Spain; and Cineplexx (3.4 per cent), present in Austria and in Italy. Interestingly Europe's largest exhibition chains account only for about 10 per cent of the continent's total screen count of over 37000 screens - against the North American scenario of large cinema chains accounting for 60 per cent - yet, they command significant market share and lead the technology traits.
Hollywood, these cinemas have no way to go except into extinction if they cannot soon upgrade to digital format- which, at this moment looks a little unlikely. Hollywood's resolve to save on $2 billion film distribution costs - besides saving more billions of dollars from easy piracy - by making all its releases digital, has been scripting pathos, if not elegy, for these cinemas. The cinematic misery is bigger in Europe since unlike the North American industry - where larger circuits together account for as much as 60 per cent of the continent's 39,000-plus screens, leaving a little for minor, independent movie houses Europe's all large circuits put together account not more than 10 per cent- meaning majority cinemas are independent and small in size and muzzle. It's been
Self & State Support The major differentiating factor behind European cinema's phenomenal digital rise is its double advantage of self and state support. While the large, affluent cinema chains had been investing on their own, besides getting funding support from independent financial agencies and VPF model with equipment suppliers, governments in several countries have also swung into action a la-Chinese way to support the cause of smaller, independent theatres. A UK Digital Funding Partnership has been formed this year under the aegis of the UK Cinema Exhibitors' Association with the prime objective of helping smaller theatres secure financing for digital switchover as well as negotiate fees studios pay to theatres. The partnership aims to have about 500 UK screens signed up by the end of the summer. Concurrently, London-based pan-Europe cinema facilitator Arts Alliance Media Ltd. made deals with exhibitors across the region. More, in March this year, it secured 50 million Euros ($63.3 million) from Bain Capital LLC's credit
extremely difficult for them to go for the expensive upgrade. "A cinema will absolutely go out of business if they don't upgrade," John Fithian, president of the North American Theater Owners (NATO), was quoted as saying. "Smaller exhibitors that cannot afford digital technology will go out of business." That most cinema experts profess that major Hollywood markets like the US and UK (besides countries like Singapore and Australia) will be fully digital in three-four years, the digital conversion, for many, is no longer 'an if thing;' it is a 'when thing.' However, though some business models have emerged across the globe to help smaller cinemas fund their upgrades, the non-viability of high cost upgrades for cinemas in smaller towns with low collections is proving a big portent.
affiliate Sankaty Advisors to help fund the rollout of digital systems. On the other hand, Europe's largest cinema chain, Berlin-based Odeon Film AG, raised 37 million pounds in private equity in direct negotiations with Hollywood studios to help foot conversion costs. Cineworld Group Plc in London is said to have converted about a third of its screens, about 232 with its own funds. Other major circuits have also followed suit to herald the digital era.
Three-dimensional Drive With Avatar's epic impact, 3D has been another major driver of the digital growth. With the North American industry substantially respecting the calendar of Hollywood releases announced, and audiences proving highly receptive and willing to pay a premium price to experience the novelty, European exhibitors too have dynamically invested in the digital exhibition business. That Hollywood is slated to churn out as many as 19 3D movies this year alone, and 40 more lined up for the next two years, 3D appears to the exhibition driver for at
Looking at the plight of cinemas and the necessity to foster them if only to encourage regional movie industry, several governments in Europe are said to have come together to bail out the beleaguered cinemas. European Union is reported to be planning to fund up to 50 percent of the conversion costs for cinemas that show European movies, besides the Hollywood flicks. For cinemas in the UK exclusively, a UK Digital Fund Programme has also been devised by the UK Cinema Exhibitors' Association to help smaller cinemas secure financing digital conversion. Like many others, Prince Charles Cinema too awaits for its hand of help. Else, a 3D cinema script of a different kind.
SPECIAL FEATURE Digital Series Country
Table 2: Digital cinema sites and screens in Europe by country 2007 - 2009 (as at 31 December) least few years to come. Catching the excitement, Europe too moved ahead. Penetration of screens equipped with 3D technology continued to increasefrom 54.4 per cent in June 2009 to 68.8 per cent by December. The post-Avatar 3D digital excitement is best exemplified in the recent emergence of all-3D digital multiplex in the UK- first of its kind in Europe. Apollo Cinemas, UK's sixth largest cinema exhibitor with 14 locations and 83 screens, rendered its latest sixscreen venture at St. Carmarthen's Walk in Wales with fully 3D digital with Sony's CineAlta 4K and RealD 3D.
Average Screens Per Site
Having fully digitized with CineAlta 4K its three previous ventures at Redditch, Altrincham and Fareham, the company upped its own ante with its latest venture with 3D digital on all its screens. That the chain has another four locations with a total of 22 screens lined up for the coming months, and resolved to make at least one-third of its total footprint in 3D digital, European cinema appears poised for a big digital leap. Significantly, in several countries of Central and Eastern Europe and the Mediterranean Rim such as Cyprus, Croatia, Lithuania, Latvia, Malta,
Source: Media Sales
Serbia, Slovenia and Slovakia, where the numbers of digital cinemas are still modest, 3D screens represented almost 100 per cent of total digital screen count. In fact, the percentage penetration of 3D digital screens compared to total number of digital screens is over 80 per cent in many countries such as Russia, Turkey, Czech Republic, Denmark, Italy, Hungary, Finland, the Netherlands, Switzerland, Spain and Poland. The percentage is, however, lower in the United Kingdom, where it amounted to about 71 per cent, followed by Germany with 62, and France with almost 53 per cent.
AAM, Cineworld in Pact
Largest D-Drive in Europe In yet another giant stride towards digital entertainment sphere, European cinema broke its biggest ground recently with two largest groups coming together. Leading digital cinema facilitator Arts Alliance Media (AAM) and Europe's second largest cinema chain Cineworld Group PLC joined hand in what is seen as the single largest deal till date in the continent. That the deal envisages a 100 per cent DCI-compliant digital cinema chain with about 800 screens makes it all the more significant.
Arts Alliance Media (AAM), Europe's leading digital cinema facilitator, announced two significant milestones on the road to converting Europe's cinemas to digital. The company signed a deal with Cineworld Group PLC (Cineworld), Europe's second largest cinema chain, which will enable Cineworld to fully convert its 790-screen circuit to DCI-compliant 2K/4K digital over the next three years. Cineworld will finance the deal from its existing financial resources and cash flow. AAM also announced the closing of its 50 million financing deal with Sankaty Advisors, LLC, a leading fixed income and credit investor, to fund the conversion of over 1,000 screens from AAM's existing pipeline of exhibitor deals.
to Cineworld will be refunded by distributors who use the digital projection systems through AAM's VPF contracts.
live sport, live opera, theatre, comedy and gaming; as well as capitalise on other venue uses, such as training and conferences.
Already the UK's leading exhibition pioneer in digital cinema conversion, Cineworld is the first major UK exhibitor to commit to a timetable for complete digitisation of its circuit. The full digital rollout will allow Cineworld to continue to show the latest 3D movies on more 3D screens; offer customers an increased range of alternative entertainment, including
Under the deal, AAM will maintain the equipment and administer the VPF agreements with distributors. AAM will also provide its theatre and library management systems to all 77 sites, as well as satellite capability in conjunction with its partner Arqiva Satellite & Media. This will allow showing of live events and satellite delivery of digital features, trailers and advertising.
The estimated cost of the rollout for Cineworld is said to be approximately £30 million, in addition to the £10 million already spent on digitising a third of the chain's screens during 2009 and the first half of 2010. Majority of the total £40 million cost July-September 2010
SPECIAL FEATURE "We're pleased to be able to extend Cineworld's digital estate through this deal with Arts Alliance Media," Cineworld CEO Steve Wiener said. "We chose to work with AAM because of their market leading position in Europe and know they have the technical and operational experience to deliver our digital vision," he said, adding, "we have already seen the benefits of digital in our cinemas better quality, 3D, and alternative content such as opera, concerts and 3D rugby, and are looking forward to bringing these benefits to all Cineworld customers with AAM's support." According AAM CEO Howard Kiedaisch, the facilitator's ability to move forward with Cineworld, while simultaneously closing the deal with Sankaty, clearly demonstrates that digital cinema rollout is back to its best pace, after the global financial crises of last couple of years. "These two deals mark the inflection point for digital cinema in Europe," Kiedaisch said, "with the financing now in place from Sankaty, we have substantial funds to offer cinemas the choice of whether to fund the equipment themselves ('exhibitor financing') or for AAM to provide the financing." Significantly, during the process of agreement of these deals, a solid but expandable financial structure was created that allows AAM to significantly scale up their capital raise over time. According to David Ross, Executive Vice-President at Sankaty Advisors, the transition to digital cinema has reached a tipping point and AAM are at the forefront of this transition. The company recently raised a new $900 million Middle Market Opportunities Fund to capitalise on such middle market investment opportunities in Europe and North America. AAM has VPF-based digital cinema deployment agreements in place with five of the major Hollywood studios (Disney, Fox, Paramount, Sony and Universal) and contracts covering a total of 7,500 screens in Europe. So, yet another giant stride for a digital Europe, cinematically.
AAM's S50M Deal to Advance D-Cinema in Europe: The rollout of digital cinema to exhibitors across Europe received a significant boost with the Arts Alliance Media Ltd, Europe's leading digital cinema company, managing to secure 50 million to fund the initiative. Sankaty Advisors, LLC, the credit affiliate of Bain Capital LLC, have agreed to provide funding to support rollout of digital cinemas over the next two years, subject to final documentation. The deal is expected to close in 30 days. Sankaty Advisors, which currently manages approximately $20 billion in committed capital, will provide a combination of senior and mezzanine debt for deployment of digital cinema equipment into cinemas across Europe. There are currently about 4,500 digital cinema screens in Europe - with approximately 75 per cent of being in 3D - and the figure is expected more than double, to almost 13,000 by the end of 2012. Arts Alliance Media currently has digital cinema deals in place in seven territories within Europe, and commitments in place for over 1,500 screens which are currently in the process of being installed. "Financial crises of the past year slowed the process of digital cinema conversion, but the recent announcement by DCIP in the US, and now this announcement for Europe, illustrates that the rollout is now ready to move full speed ahead," said Howard Kiedaisch, Chief Executive Officer of AAM. "Sankaty Advisors are very forward thinking and have created an extremely flexible model that we are looking forward to offering to our exhibition partners. Many exhibitors we're already working with are delighted with the results digital brings - better presentations, 3D and alternative content are great for audiences and cinemas alike." "The announcement of this deal is a huge vote of confidence in Arts Alliance Media and the whole European digital cinema industry," stated Patrick Foley, CFO of Arts Alliance Media. "As part of this agreement, we will create a very solid but expandable financial structure that will allow us to significantly scale up our capital raise over time. We are confident this financing will allow us to continue leading the industry in Europe by adding more cinemas to our network." According to AAM, its goal is to build Europe's largest digital cinema network. While all the screens installed by AAM are DCI-compliant, the company's strategic partnership with Arqiva Satellite & Media allows exhibitors to benefit from satellite delivery of alternative content events and features, as well.
World Cup Soccer in 3D Digital Cinemas
The Ultimate 'Goal' of Alternative Content! Come 11 June 2010 - the cinematic world, will, probably, never, be the same again. For, movie houses across the globe that are equipped with 3D digital exhibition systems will be treated with what is arguably the most exhilarating sporting event! The FIFA World Cup Soccer Championship 2010 will be beamed live in 3D digital to cinemas worldwide with a matching set-up. The hoopla of alternative content in cinemas, perhaps, is being taken to the crescendo of excitement, thanks to the coming together of two most vehement advocates of 3D digital entertainment. Coming in the month of World Cup Soccer, TW presents a snapshot. Since the emergence of concept of the digital cinema, the world of may have, seen, experienced, and appreciated through all those years of hype and hoopla - many a non-feature film entertainment formats in cinemas. From musical concerts to NBA Leagues to NASA expeditions, to gaming
thrills, to IPL matches- it had everything and everyone getting into the excitement. Even as the exponents of 3D digital cinema were seeking to further their advocacy of digital cinema as an effective platform of alternative content, and diverse benefits to
cinemas, they were all there to see in India, one of the most dynamically growing D-Cinema markets in the world. With the Mumbai-based Scrabble Entertainment and UFO Moviez joining hands to beam live feed of the much popular Indian Premier League cricket matches in
both 2K digital and 3D digital to cinemas across the country, Indian cinemas led by the fancied multiplexes treated their audiences with big screen cricketing entertainment. Most Indian exhibitors have been unanimous in their excitement that the 'IPL screenings' have opened a new avenue of revenue for the movie houses. (Read separate story in TM: Cinematic Sportainment) Probably, a more ecstatic and global extension to the enthusiasm generated before and after the IPL is coming the cinematic way in the form of the FIFA World Cup Soccer, in 3D
Digital! While the efforts to beam live feeds of sports to cinemas have been there with the NBA Leagues in the USA for sometime now, the excitement is hitting, probably its biggest 'goal' with the Soccer World Cup coming this June. To this effect, SENSIO Technologies Inc. and Aruna Media AG have come together to reach out to global cinemas (and stadiums too) coming under their coverable network with the Soccer World Cup Live feeds from South Africa. Aruna, which owns the FIFA World Cup live broadcast rights for out-of-
home 3D HD, will distribute 3D content in the high-quality SENSIO 3D format worldwide. "The 2010 FIFA World Cup will be the first-ever global live 3D event, and with its unique expertise and worldwide network, SENSIO is the ideal partner to help us deliver this historical and groundbreaking live 3D event to large venues," said Justin Ackerman, managing director and co-founder of Aruna Media AG. "The SENSIO 3D technology, with its stunning image quality and proven track record, is also unique in that it is agnostic with respect to 3D display systems."
Aruna Media AG: Sporting in 3D Aruna Media AG is a 3D live events company with a focus on sports and music. The company has built unique core expertise in sports engineering and operations, specializing in infrastructure, marketing, distribution, rights, and revenue models, all key elements to the successful marketing, delivery, and profitability of live 3D events in large venues.
SENSIO: Stereoscoping 3D Entertaiment With significant expertise in the field of 3D video, Canadian technology major SENSIO develops and markets stereoscopic 3D digital compression, decompression, and
display-formatting technologies. Its solutions are deployed on a global scale by content creators, games developers, broadcasters, specialty channels, and digital cinemas, allowing customers to generate substantial additional value-added revenue streams. SENSIO's flagship technology, SENSIO 3D, enables the high-quality distribution of 3D content through conventional 2D broadcast channels networks - cable, satellite, and/or IPTV - and playback on any 3D display device, including plasma TVs, LED/LCD HDTVs, PCs, and glassfree 3D displays, as well as home theatre and digital cinema
projectors. A true multiplatform format, SENSIO 3D is compatible with standard DVD and Blu-ray players, as well as game consoles including Xbox and PlayStation 3. In short, it is the format of choice for the creation of highprofile 3D gaming experiences. marketing, distribution, rights, and revenue models, all key elements to the successful marketing, delivery, and profitability of live 3D events in large venues.
AAM, Arqiva Beam Rugby to Cinemas: Arqiva provided O2 with the technical solution for live 3D delivery of 'The RBS Six Nations' rugby into 40 UK cinemas this February. Arqiva, working closely with Arts Alliance Media, installed, configured and tested a unique 3D distribution network which successfully delivered two events on a scale never before tried in Europe. "This was an unprecedented project which demanded very close co-operation with our technical partners and all elements of the broadcast chain," said Woolston. "Its success demonstrates that large scale live 3D cinema broadcasts are possible and that Arqiva's proven technical solution presents real commercial opportunities for event organisers and cinema owners." "Live 3D broadcasts of the FIFA World Cup into digital cinemas could herald the start of a new trend in how fans experience sports events, giving them as close to the stadium experience as possible," concludes Barrie Woolston. According to Markus Barmettler, managing director and co-founder of Aruna Media AG, being compatible with 3D cinema technologies and providing superior image quality was vital to Aruna's groundbreaking event in reaching viewers on all continents. "We are pleased to be partnering with SENSIO to bring this historic sports event to fans worldwide through a remarkably rich and dynamic live 3D viewing experience," says the Aruna chief. SENSIO 3D is a proprietary, frame-compatible format for high-quality professional stereoscopic signal processing. Developed and perfected by SENSIO over the last 10 years, this mature technology has been used in the vast majority of commercial and non-commercial live 3D events produced around the world. For the 2010 World Cup, SENSIO will work with Aruna's technical staff to support local digital cinema integrators for the system design, testing, and implementation of the live 3D broadcast network. "SENSIO has participated in many historical 3D firsts in its 10 years of business, but the global delivery aspect of the 2010 World Cup in South Africa is incredibly exciting," said SENSIO's president and CEO Nicholas Routhier. "The worldwide broadcast of a live 3D event represents a unique technical and commercial opportunity, and we're thrilled to be working with Aruna to tackle this challenge and mark yet another important milestone in the evolution of 3D broadcasting." The 2010 FIFA World Cup is expected to exceed the tournament's 2006 cumulative audience total, in-home and out-of-home, of 26.29 billion viewers. Following the successful conclusion of this summer's matches, Aruna and SENSIO will continue their partnership, bringing other high-profile live sports events to cinemas worldwide in 3D.
Cinema Installation of 65 projection systems in just 40 days; integration of existing supplier services; and minimal disruption of existing exhibition schedules! In what may be considered a first of its kind fast-track cinema installation in modern movie exhibition industry, projection major Christie and Georgia-headquartered Georgia Theatre Company have come together to weave 'a new cinema story.' Having seen fast-track infra projects, administrative and corporate edifices, it's now fast-track cinemas too. TW presents an account. That the run up to the James Cameron epic movie Avatar generated an unprecedented excitement among cinema exhibitors across the globe for upgrades to 3D digital was very obvious in the fashion the subsequent weeks and eventualities turned out to be. Such was the hoopla that the fourth quarter of 2009, towards the end of which the Avatar release was slated, saw as many as 2000 digital installs. Cresting this momentum, however, could be the story of Georgia Theatre Company (GTC) where projection major Christie installed as many as 65 digital projection systems in as quick span of time as 40 days. This, executed without disturbing the existing exhibition schedules at the theatres!
To make the transitions smooth, projector pedestals were pre-loomed in the pre-staging integration facilities of the installer in Cypress, and then shipped to the location. In most instances, the existing film projectors were removed; electrical work completed; digital cinema projectors installed, tested and on-screen by the first show the following day. Result: All the 65 installs, including eight from RealD 3D, were completed in time to capitalize on the Avatar excitement. GTC is a third generation familyowned business specializing in motion picture exhibition for over 85 years. Bill Stembler, chairman and CEO, and Aubrey Stone, president - long time members of the National Association of Theatre Owners (NATO) - had been
listening to the apex body and watching the industry technology traits since digital cinema came onto the scene. With their experience of decades underlining their digital enthusiasm, they remained watchful and cautious through the years of hype, and waited for what they thought the right time. "This is one of the smartest decisions a company our size, with limited resources can make," explains Stone. "We don't have the IT horsepower within our ranks and we don't have that technical specialty. It came down to wanting and needing to utilize resources and experience," he said and added, "the fact that Christie had gone through the conversion process before (came good). Christie provides
not only a good projector, but the capabilities to install and service and do it right the first time." Due diligence - a year's worth of hands-on research in 2008, GTC brought three different systems into their facilities and began testing Christie, Barco and NEC-Strong digital cinema solutions to begin to form opinions on the projectors, the ease of use, servicing and how different digital cinema was going to be compared to 35 mm. Theatre managers from across the locations of GTC were involved with hands-on testing, for providing their feedback on the equipment and its ease of use. There were two other movers too behind the whole initiative- Cinedigm the integration entity focussed on worldwide digital conversions of cinemas, and Bright Star Corp, the Miami, Florida-based logistic services and supply chain management solutions provider. By September 09, GTC was ready to move forward. Christie, the digital cinema leader with 70 per cent of all installations worldwide, provided 65 Christie CP2000-ZX DLP Cinema projectors along with Christie Managed Services support and remote monitoring through its 24/7 Network Operations Center (NOC). Stone and GTC were understandably a little anxious - they were moving from a format they had worked with all their cinema life - just before a critical holiday time period that they had to finish in time for a huge 3D movie launch. Missing that milestone would mean not only missing out on additional revenue but also spoiling the existing structure. In just 40 days, Christie Managed Services installed digital cinema projector solutions into 65 screens from seven different locations within the first phase of the install plan. The first three installs were completed by the Thanksgiving Day, without a hitch. And eight of the installs included RealD 3D conversions. Stakeholders were quickly put together into a working group that met consistently from the end of October through to the end of December. GTC had ambitious goals - they wanted 65 screens converted to digital cinema before the release of Avatar in 3D. GTC, Christie, Cinedigm and Bright Star Corp. held regular conference calls to create an organized execution plan, then execute on that plan. Each day of the installation three to four film projectors were removed in the morning. The electrical work was completed and the digital Christie CP2000-ZX projectors were installed, configured, tested and on-screen by the first show the next day- all done like a fast-track project. Training was held daily to ensure all staff members were comfortable with the new equipment. Weekly conference calls were held to keep all vendors and GTC management updated on all aspects of the project. Site survey, procurement and site preparations: Christie Managed Services began the process with a comprehensive site survey, collecting data shared with GTC management, sales and other GTC vendors for the site
TECHNOLOGY preparation. The information gathered was used for the network cabling aspect of the installation and helped to complete the project five days before the next phase - projector installation - was scheduled to commence. The site preparation included an electrical walk-through, HVAC modifications and screen replacements. Survey data was used to ensure that all lamps and lens specifications were accurate and verified as efficiently as possible. The projector pedestals were preloomed to meet customers' needs in the integration facilities in Cypress. All projectors, pedestals and materials for the installation were delivered at the same time to the sites. In many cases, this was the first day of the installation to avoid disrupting the GTC regular operations and to keep labour costs low. "From a process and procedural standpoint - we had it down to a science," explains the GTC President. "It made the installations seamless. Christie Managed Services exceeded my expectations in the installation," he said, adding, "the process went exceedingly well and I'm pleased with how well everyone worked together, to minimize the downtime." Once the Digital Cinema Initiative (DCI) specs were finalized and the industry had actual digital cinema projectors, as theatre operators, GTC looked at the conversion to digital in earnest. Stembler and Stone both knew where the industry was ultimately headed and that digital cinema was going to happen. Unfortunately, however, their decision to move forward with their own circuit conversion was met with bad timing the economy had collapsed presenting the industry with an introspecting dilemma for GTC just as it did with other members of NATO.
"The challenge was, the technology was ready, the studio deals were coming together, but economically, there was a roadblock," explains Stone, "from a financial perspective, this is a huge commitment." GTC did consider various financial opportunities, but faced with gloomy external funding scenario, chose to move forward on a self-financing philosophy. The arrangement, however, is still run through Cinedigm, and the Virtual Print Fee (VPF) flows through Cinedigm to GTC. What is significant, of course, is that the group has self financed for the equipment.
Avatar on-screen by December 18 Once they came to the decision to move forward with digital cinema, GTC had one main objective - to capitalize on release of Avatar in 3D by December 18. And a key challenge was getting projectors in place and converting to 3D in a compressed time schedule. But it was a risk that GTC needed to take. According to Stone, the risky exercise did pay off exceedingly well. "Since Titanic, I don't think there's been any movie that has grossed as well as Avatar," Stone exclaims. "It's a huge picture for our company, for our industry," he declares. "We'll be able to utilize digital technology and 3D technology for many weeks. It's a great utilization of a screen in terms of the dollars coming in for that screen." Tapping into that technology was greatly assisted by Christie Managed Services - Stone can't say enough about how much of a factor the group played in his satisfaction with their own digital cinema rollout. From the initial installations to help desk, remote monitoring and remote preventative service maintenance,
onsite/ emergency services, management of spares, data collection and training - the Managed Services team was and still considered a veritable safety net for every step of the process. According to GTC, more than the investment made, the equipment quality and ease of use was of paramount importance simply because, the existing structure was going to break and new service was going to be huge. That they had Christie Managed Services' experience in-house as their strength was big value add. Managers have been used to opening up a console and fixing any problems if need be, to keep the show moving. Now, with Christie Managed Services, there's no need for that anymore. It's a sense of peace of mind for the managers to not have to worry at that level that a screen will stay live. There's no comparison in my mind - no one can hold a candle to Christie with regards to service," Stone adds. Now, he feels that calls from industry colleagues, providing a real-life example of what it's like to convert from 35mm to digital. "GTC has jumped ahead of almost everybody in terms of the digital arena - and that's something to be quite proud of," he explains.
CINEMA SYSTEMS Projection Series-XXIX In the third and concluding part of Unit VII, we delved into various aspects of health and safety at projection workplace and elsewhere in the cinema premises involving the projectionist role. We discussed some of the vital points where the projectionist could add value to the safety aspect of the cinema as a whole.
With new technologies and sophisticated equipment coming to impact cinema projection, the projection personnel are required to be abreast with those processes and maintain the advanced systems properly so that the experience continues. In this part one of new, UnitVIII, we move forward to learn the techniques of advanced maintenance of the equipment in a projection booth.
As the technology in cinemas becomes more and more advanced, the need for specialist servicing becomes a necessity. Specialist engineers, however, rely heavily on the man on the spot - in other words, the projectionist. This makes it doubly important that the
projectionist should not only be competent to do the job he should also own periodic servicing to minimise failures. It also means that the projectionist needs to understand fully the basics of the technologies being used. A good engineer will always encourage a projectionist who is keen to learn, since it often helps him to converse over telephone to a knowledgeable person in case of an emergency, and engineer could no way reach the spot on time. Having said that, the projectionist should never attempt to do anything that he is not qualified to do; he must ask or research anything that he is not familiar with. In the long run, it will only help the projectionist to further their career as very often engineers are recruited from within the projection room.
get out to a cinema the following day at best - some times more than than - often having travelled several hundred miles. The advancements in the projection operations meant that the chief projectionist and his staff have an increased responsibility to look after the equipment through routine inspection, to reduce the number of equipment failures, to cope with many of the more common failures by themselves, and to build maintenance in to the normal operations of the cinema by means of scheduling.
Why advanced maintenance? In recent times, the way maintenance is carried out in cinema's projection room has changed dramatically. Companies providing standby engineers on duty every night within about one hour's travel of every cinema have now disappeared due to the enforced economies. Today, it is normal for a service engineer to
A typical modern projectorconsole
CINEMA SYSTEMS This new reliance on self-help for projection room maintenance will only work if the cinema has the necessary equipment, i.e. spares and tools, on site, and if projectionists have the necessary knowledge and skills to undertake a range of maintenance and repair tasks with confidence. When things go wrong, or when a fault is indicated, the first move is to check if the equipment is under a service contract. The contract may stipulate that the projectionist or his assistants must not attempt maintenance or repair the system on their own. In emergency situations, even if equipment is covered by a contract, the projectionist can attempt maintenance or repair work only upon an advice by the service engineer on what actions to take until he himself could attend. Spares and Tools Spares are normally costly items so it is wasteful to carry spares for parts which never wear out or do not require replacement on an emergency failure basis. For example, it is worth carrying spare exciter lamps as they can fail at any time with no warning, but it is pointless and expensive to carry a spare sound optics. A sprocket doesn't usually fail suddenly but deteriorates over several years, so the projectionist will have plenty of warning provided he knows what exactly he is looking for. Identifying and obtaining a useful spares stock is therefore a priority, and the cinema's projection service engineer is the person to ask for guidance. He is the person who knows better than anyone the equipment he has supplied, both its strengths and its weaknesses, and can also often give advice on what maintenance the projectionist are capable of doing without the need for specialist alignment equipment. The projectionist will, anyway, require
Spares should always be kept where you can find them
a comprehensive took kit and a multi test meter. More, he must be familiar with them and know how to use them correctly. Maintenance Skills and Training There are three ways of finding out tasks that the projectionist can do to ensure the smooth running of the projection equipment. One- reading and memorizing the points noted in the instruction manuals supplied with the equipment. Instruction and user manuals vary in their usefulness, and ease of use. Many are excellent and comprehensive, but the projectionist may find it difficult to access the information he needed urgently, simply because all the information may not be in one obvious place. A good index is therefore a must. It is always better to use manuals as a way of getting to know all the ins and outs of equipment before a trouble occurred- rather than take them as rescue devices in emergencies. Most user manuals do contain a trouble shooting guide, usually at the back. If the projectionist does not want to go further than the manual's recommendation, then he should not invalidate any service agreement, but be careful not to venture beyond his capabilities. Two- asking the service engineer to show how it all works! Often, service engineers will be more than pleased to show some simple tasks the
projectionist can perform himself to keep the show on the screen and get the projection out of trouble. It is in their interest of not only the projectionist but also the cinema he is employed with not to make pointless journeys to change something that could have been done by the operator in a few minutes had he been shown how. The projectionist should never be afraid to ask for instructions on anything that he is not sure of. Once the projectionist have been shown how to carry out repair and maintenance tasks, he must write his own notes and file in a safe and easily traceable place so that he can retrieve them in any emergency. Three- attending training courses. Though a little less frequent compared to other technology training courses, there will be some courses for projectionist too. These courses are sometimes run by equipment manufacturers, cinema exhibition companies, their representative agencies, or professional bodies such as the BKSTS. Attending these courses will expose the projectionist to the latest practices in the profession as well as those likely to come to business in the near future.
Tools also should always be kept where you can find them
As the notion goes, it is never too late to learn. The projectionist, primarily, needs understand that learning is an indispensable requirement of his job. It is never too late to learn! (To be concluded)
When attempting any servicing of the projection system, the projectionist's first priority must be safety. He should never attempt anything that he is not comfortable with. If he has any doubt, he must leave it well alone and contact a service engineer. TW-48
The 36th edition of ShoWest - the most coveted platform of global motion picture industry - was held from March 15-18 at Paris and Bally's in Las Vegas. The industry's biggest event, held even as the global motion picture industry was breaking free of the recessive pressures, sought to address the industry with what it calls a 'truly global' approach.
The last event under Sunshine Group of Nielsen Business Media, the promoters of the 36-year-old event for the last 10 years, had bigger issues of its own self as well as those of industry concern. That the event ownership had changed from Sunshine Group to National Association of Theatre Owners (NATO), which will produce the event from 2011 and beyond, is one, the growing concerns of getting caught between 2k and/or 4k, ambiguities about 3D digital and supporting accessory technologies and delivery mechanisms was the other. In addition, the challenges of 'digital divide,' and leading the cinema
business of out the tough market pressure times.
three titled 'Green Screen: Environmental Awareness in the World of Cinema.' Presented by NATO and Inter-Society Environmental Committee, the session had industry stalwarts such as Ioan Allen SVP at Dolby; Andrew Robinson, MD of Harkness Hall; Paul Holliman, VPWorldwide Digital Cinema at Disney Studios and Steve Zuelke, VP-Theatre Operations at Cinemark shedding some valuable light on the indispensability of green-consciousness for cinemas. The session also had a panel discussion with Jon Corcoran, VP-Environmental
Digital Green: Understandably, while digital cinema continued to occupy centrestage, the event programming had some innovative items and thought processes for the participants. The most important of all was a special programme on day July-September 2010
ShoWest Bids Adieu, CinemaCon Beckons The widest and most preferred platform for global motion picture exhibition industry, ShoWest has not only changed hands of ownership but the very name too. National Association of Theatre Owners (NATO) which took over the ownership of the prestigious convention has renamed it as CinemaCon. The new name will come into effect from 2011 convention. NATO has also decided to produce the event on its own.
Sustainability at Sony Pictures; Debbie Levin, President-Environmental Media Association; Joe Peixoto, PresidentWorldwide Cinema, RealD; and Kerry Stanley, Construction Manager-Design, Construction and Facilities at AMC Theatres. The session not only proved very informative for the participants but also opened new thoughts for making cinemas eco-friendly. After the initial funtainemnt on day one morning that included a tennis tournament, the event opened with a seminar on 'new challenges and best practices on exhibition' with top executives of Cinemark, Kerasotes, Rave and Cineworld sharing their views and experiences with the audiences. Day two opened with an update on the industry's current status while the afternoon session of the day had a thought provoking debate on 'increasing profits through menu
The 36-year-old event was produced for the last 10 years by Sunshine Group of Nielsen Business Media which sold show besides its other assets in January to private equity firm e5 Global Media. According to NATO, the event’s coming under its aegis allows theatre industry to take control of the messaging, marketing and perceptions of its industry’s premier event. All the decisions on programming will be aimed at serving the industry’s interest
expansion and renovation' where the participants were given some important tips and measures that could stand cinemas in a better steed in tougher times. Day three was significant not only for the 'green cinema' seminar but also for a mini tradeshow by NATO within the main show on 'accessibility products for digital cinema' that had exclusive DCinema products from USL, Dolby, Doremi, Qube, GDC, MoPix, Sony, Intelligent Access, and Williams Sound on demo. The day also had another important session '3D for every exhibitor,' presented by Technicolor offering an affordable 3D solution for 35mm film projection system. Actually made public during ShoWest 2009, the solution was sought to be propagated across the still large community of filmbased cinemas. The four-day event had over 5,000 visitors from across about 63 countries
rather than ‘generating profit for an outside company.’ The new trade show will be held in every March at a larger, single venue, Caesars Palace in Las Vegas. The forum is currently hosted at the Paris and Bally’s hotels. One of the important goals of the new owner is said to be bringing in more participation from Hollywood studios who had been turning away from the event in recent years following their cut in spending due to market pressures.
and representing practically every segment of the industry. The tradeshow had on demo latest product offerings from equipment manufacturers and solution providers from across the industry. While the event had a huge plate of new movie screenings in digital and Imax large format, the Awards Ceremony turned most glittering of all. This year's Awardees at ShoWest included: •
Bell Stembler, Georgia Theatre Company -ShoWester of the Year
Sam Worthington - ShoWest Male Star of the Year
Katherine Heigl - ShoWest Female Star of the Year
Jerry Bruckheimer - ShoWest Lifetime Achievement Award
Exhibitor list & map
PREVIEW The 2010 edition of Cinema Expo, the largest convention of the European motion picture industry, will be held at RAI, in Amsterdam, the Netherlands from 21 to 24 June. Into its 19th year in the running, the event, this time, assumes significance on two counts. One- it's being held at the most critical juncture of the industry, both in Europe as well as the world at large, and two- at a time when digital stakes have been flying higher than ever across the continent. The programming of the four-day event is expectedly packed with subjects that seek to address the industry's most concerning issues: finding effective ways out of recession, 3D digital transformation, and alternative content, besides challenges of global piracy. In line with the previous editions, the three-day event will be preceded by a day-long technical session day organized and hosted by International Cinema Technology Association (ICTA). The sessions - obviously dominated by D-Cinema - include topics such as 'screens in a digital world'; 'upgrading sound systems for digital cinema'; 'operating all-digital cinema multiplex'; 'how to clean 3D glasses,; and 'service models for cinema industry. The day, however, will open with a session by International Union of Cinemas (UNIC) a body focussed on European cinema industry. The ICTA technical sessions flow into day one of CinemaExpo with a seminar on 'distribution of alternative content through exhibition' to be hosted by Thomas Ruettgers, Vice-President at ICTA. The session will deliberate on all the aspects of the value chain, viz, obtaining content, delivering the product, and experience at the exhibitor end. It will also debate on the intriguing challenge before the industry today: '3D (live) network for alternative content?' The session will be immediately followed by a digital cinema global update by DLP Cinema- 'Now Showing at a European Cinema Near You.' To be presented by Tony Adamson of DLP
CINEMA EXPO 2010 21-24 June
Cinema, the session will infuse deeper thoughts on 'the digital advantage, the record growth, and what's next.' The day's programming also presents the delegates with a 'game change' session by Sony on 3D digital in 4k. The session is expected to delve into the opportunities of alternative content in 3D on sports, music and gaming. Day one, however, will have something for the 35mm film-based exhibition too, but in 3D. Technicolor, the film major campaigning for film-based 3D for over a year, will seek to explain the cost-effective and more creative way of business with film-3D. It will demonstrate their latest innovation allowing exhibitors and distributors to capitalize on the extraordinary success of 3D movies. This system provides high
quality and affordable 3D projection using existing 35mm equipment. With state of the art optics and a silver screen, this system affords exhibitors the chance to reach the latent demand for 3D without the heavy price tag of fully converting to digital. Day one will also have a debate on online piracy. It will provide an overview of the current state of online piracy, demonstrating how it has evolved from complicated technology to easy-to-use technology, from dorm rooms to highly-profitable commercial operations, from "sharing" to organized crime, from a 2-feet to a 10feet experience. The presentation will identify tactics which must be deployed in this new era where any film can be found online with just four clicks and where stolen content can easily be viewed on the television in living rooms. Day two programming will again begin with a seminar on digital cinema roll out in Europe. It will, however, be followed by an exclusive session on the
measures initiated by European Union to support the cause of regional cinema exhibition. Day three will begin with a tech session on how cinemas can improvise their revenues from concessions by innovative design while day four will have a session on 'additional programming and new cinema going experience.' The product reels from the studios are predominantly in 3D digital. Dolby, RealD, Xpand, and MasterImage are giving exclusive presentations on 3D digital. The movie screenings this year will include: •
20th Century's Knight and Day presented in 2k (Barco 32B 2k system)
Universal Pictures' Despicable Me in RealD 3D format
20th Century's Money Never Sleeps in 2k
Warner Bros.' Going the Distance in 3D (Dolby and Christie)
Walt Disney's Toy Story 3D in 3D in multi language channels (Christie and MasterImage 3D)
Universal Pictures' Get Him to the Greek in 2k (Barco system)
Warner Bros.; Inception in 35mm
Awards: At this year's CinemaExpo, , Universal Pictures International President David Kosse will be honoured with International Distributor of the Year award, while Pathé Theatres B.V. chief Lauge Nielsen will be honoured with the International Exhibitor of the Year. The Tradeshow: Tradeshow at CinemaExpo 2010 is expected to showcase a variety of latest and hot selling cinema equipment from across
the world. The show includes all the leading global and regional brands in projection like Christie, Barco, NECStrong, Sony, Kinoton and Cinemeccanica; audio brands like Dolby, Datasat, Alcons, QSC; 3D solutions providers such as RealD, XpanD, MasterImage, server solutions providers such as Doremi; Qube, network providers like SmartJog, Arqiva, cinema equipment developers like Proyescon, USL, and seating solutions providers like Figureas, Irwin Seating, Seating Concepts, Leadcom etc. besides Harkness Hall screens. However, the limelight of the show is expected to be on a new innovative 3D system demonstration by Panavision. The company is presenting (using cinema content), a new, spectral 3D system compatible with white or silver screens, film or digital projectors, and all 3D cinema packages.
Exhibitors List Actionsign
NEC Display Solutions
Advanced Specialty Lighting
Future Cinema Equipment
Philips Specialty Lighting
c-cinema-components & media
Guangzhou Lijiang Economic Harkness Screens
International Cinema Technology
Scenic Technical Textiles
Jack Roe (CS)
JBL / CROWN
Jos. Schneider Optische Werke
Clarity Retail Compeso CRU-Dataport
K.C.S. (Kelonik Cinema Sound)
Technicolor Creative Services
d2 benelux BVBA
TW - TheatreWorld
Ultra Stereo Labs
VCL Sound Experience
Eyes 3 Shut
West World Media
Mesbur & Smith Architects
Figueras International Seating
Film Ton Technik Hannsdieter
Mobiliario SA de CV
Cinema Today, Chennai 23-25 July at Chennai, India Cinema Today - Pro Sound & Light Expo 2010, the fourth edition of India's entertainment industry spectrum will be held from 23-25 July at the Chennai Trade Centre in Chennai. South India's only trade expo aimed at bringing onto common platform the professional audio, light, music, theatre, auditorium, broadcast, digital cinema, media and entertainment industries, the event is hoped to create yet another confluence point for the professional and user communities of the country's bulging entertainment industry. The three-day event expects to provide a networking platform wherein various segments of the entertainment industry interface their target groups not only from South India but also from nearby territories and neighbouring Sri Lanka. The show has gained significant momentum over the last three years and has become a familiar event in the industry circles. The
support of associations, media partnerships and a focused promotional campaign ensures that the target visitors do not miss the event.
JUNE 21-24 CINEMA EXPO AMSTERDAM, HOLLAND www.cinemaexpo.com
JULY 23-25 CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
Some of the prominent and regular exhibitors in the event include ShowTex Middle East, Philips, Pope Professional, Rinbo, Crayz, Krishna Quinette Seats, Nova Ausio, SoundLand, Pro Musicals, MDR Electronics, Silicon Radio House, Baba&Sons, StereoVision and Harris Corporation to mention a few.
AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
The event is promoted by Buysell Interactions Private Limited, one of the leading entities in trade show business. The company has organized over 70 shows in various cities in India abroad.
It may be recalled that the event was originally scheduled to be held in Hyderabad in February this year. However, owing to the nonconducive circumstances in the Andhra Capital at the time, the event had to be postponed and rescheduled back to Chennai in July.
AUGUST 23-26 BIRTV, BEIJING, CHINA www.birtv.com
KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
AUTUMN 2010 OCTOBER 11-14 SHOWEAST, FLORIDA, USA www.showeast.com
WINTER 2010 DECEMBER 7-9 CINEASIA, HONG KONG www.cineasia.com
SPRING 2011 MARCH SHOWEST, LAS VEGAS, USA www.showest.com
MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com
'BIG' Attraction in Manhattan Manhattan - a major commercial and cultural centre of both New York and the world - is home to many entities of global bearing. New York Stock Exchange, NASDAQ, UNO, largest concentration of global giants' corporate bases, besides a slew of entertainment entities make it the largest business districts in the US by riches, despite its being the smallest by area. Complementing its rich attractions, is a new 'big' addition- a 'boutique' cinema of its own kind. BIG Cinemas, India's largest cinema chain, a division of Reliance MediaWorks Limited and a member of Reliance ADA Group, has strengthened its global footprint by reopening ImaginAsian Theatre as BIG Cinemas Manhattan in Midtown East - New York. Having already aggregated a network of 188 screens from 27 locations across East Coast, Midwest and West Coast in the USA, BIG Cinemas is pursuing its cause by setting up standalone properties and cinemas in malls in the USA. In addition, existing properties are being taken over, renovated and operated by BIG Cinemas while leveraging the existing infrastructure and brand value. Entertain World, this time, brings you a pictorial fiesta of Big Cinemas' latest, and Manhattan's newest cinematic attraction. July-September 2010
entertainworld The Landmark Originally called the D.W. Griffith Theatre, this 59th Street East Cinema was an art house theatre located in midtown Manhattan. It belonged to a cluster of single, twin, and triplex movie theatres all of which were within two blocks of each other. One of many subterranean venues around the city, this single-screen theatre was reached through a small entrance that originates on 59th Street. The entrance continued past a modest concession area and then ended at a staircase, descending to theatre level. In 2000, the theatre was one of the few theatres to show a director's cut of Luc Besson's The Big Blue. The theatre closed in late 2003, but reopened in July of 2004 as the ImaginAsian Theatre.
On 15 March 2010, ImaginAsian
state-of-the-art facilities in
Theatre reopened as BIG
projection and amenities.
Cinemas Manhattan, after
boutique cinema, featuring Barco 2K digital projection, brand new and comfortable 160 rocker seats, and remodelled restrooms. The cinema has a TW-56
undergoing major renovations,
The New Avatar
including aesthetic, audio and
BIG Cinemas Manhattan is
visual enhancements, and with
designed as a flagship luxury
entertainworld and to uplift the journey and experience in both ambience and offerings as well. The spotlight begins from the experience of buying a ticket at the concierge box office itself. The pre-show area has a warm welcome feel with plush carpet and wooden flooring, lit with intricately designed crystal chandeliers. To enhance the drama in the journey, there is an interesting play of light and dark contrasts in the ambience. To carry on the spotlight on the customer, for the first time, the washrooms in a cinema have been designed to house special dressing rooms accessorized with comfortable personalized seating and utilities. The Design canvas Bling is a predominant factor in the design and tastefully incorporated through space special welcome foyer with a
Designing for the guest
concierge box office desk and
Inspired from the classy and up-
expanded pre-show area with an
market ambience of Manhattan,
upgraded concession bar and
the concept was to treat every
guest as the 'star of the show,'
planning, lighting and materials. The design palette comprises of minimalistic detailing, pure materials, golden shimmer highlights and July-September 2010
entertainworld Carrying on the Legacy BIG Cinemas Manhattan strives to bring the best of movie going experience and customer service to its patrons. The upgraded concession bar not only offers the traditional popcorn, but serves even Asian snacks and beverages. The theatre will host several premier and special shows in keeping with its aim to provide a distinguished programming plan to its patrons, including live events, exhibitions, and satellite-fed reflective surfaces. The cozy
golden amber glow that adds to
broadcasts, such as sporting and
seating lounge areas are placed
the soothing experience within.
against a background of sheer drapes, with golden accessories and crystal chandeliers. The foyer wall and ceiling surfaces are treated in textured finishes and highlighted with a digital wall projection of a collage of movie images and trailers. The auditorium is designed to offer a warm environment with beige wall panels, plush leather seats and carpet. The lighting enhances the ambience with a
F U T U R E
R E L E A S E S
A glimpse of movies coming to Asia this autumn or later… The Last Airbender
Production Warner Bros.
Director M. Night Shyamalan
Director Christopher Nolan
Starring Noah Ringer, Nicola Peltz Genre Action, Fantasy
Starring Leonardo DiCaprio, Ken Watanabe Genre Action, Sci-Fi
Ramona and Beezus Production Universal
Production 0th Century Fox
Director Chris Renaud
Director Elizabeth Allen
Starring Steve Carell, Jason Segel
Starring Selena Gomez, Joey King
Genre Animation, Comedy
The Sorcerer’s Apprentice
Predators Production 20th Century Fox
Production Walt Disney
Director Nimrod Antal
Director Jon Turteltaub
Starring Adrien Brody, Topher Grace
Starring Nicolas Cage, Jay Baruchel
Genre Adventure, Sci-Fi
Genre Adventure, Comedy
F U T U R E
Middle Men Production Columbia
Director Phillip Noyce
Director George Gallo
Starring Angelina Jolie, Liev Schreiber
Starring Luke Wilson, Giovanni Ribisi
Genre Action, Thriller
Cats & Dogs: The Revenge of Kitty Galore
Director Brad Peyton
Director Adam McKay
Starring Christina Applegate, Michael Clarke
Starring Will Ferrell, Mark Wahlberg
Genre Drama, Romance
Genre Action, Comedy
Step Up 3D
Director Burr Steers
Director Jon M. Chu
Starring Zac Efron, Amanda Crew
Starring Adam Sevani, Alyson Stoner
Genre Drama, Romance
Dinner for Schmucks
The Other Guys
Production Warner Bros.
Charlie St. Cloud
R E L E A S E S
Eat Pray Love
Director Jay Roach
Director Ryan Murphy
Starring Steve Carell, Paul Rudd
Starring Julia Roberts, James Franco
Genre Comedy, Drama
F U T U R E
R E L E A S E S
Nanny McPhee Returns
Director Sylvester Stallone
Director Susanna White
Starring Sylvester Stallone, Jason Statham
Starring Emma Thompson, Maggie Gyllenhaal
Genre Action, Thriller
Genre Comedy, Family
Scott Pilgrim vs. the World
Production Miramax Films
Director Edgar Wright
Director Will Speck
Starring Michael Cera, Mary Elizabeth
Starring Jennifer Aniston, Jason Bateman
Genre Action, Comedy
Takers Production Warner Bros.
Production Screen Gems
Director Erik White
Director John Luessenhop
Starring Bow Wow, Ice Cube
Starring Matt Dillon, Paul Walker
Maoâ€™s Last Dancer
Going the Distance
Production Samuel Goldwyn
Production New Line Cinema
Director Bruce Beresford
Director Nanette Burstein
Starring Kyle McLachlan, Bruce Greenwood
Starring Drew Barrymore, Justin Long
Genre Biography, Drama
Genre Comedy, Romance
F U T U R E
The Last Exorcism
Production S K Films
Director Daniel Stamm
Director Satish Kaushik
Starring Patrick Fabian, Ashley Bell
Starring Shahid Kapoor, Kareena Kapoor
Genre Social, Romance
Lamhaa Production Walt Disney
Production G S Entertainment
Director Andy Fickman
Director Rahul Dholakia
Starring Kristen Bell, Jamie Lee Curtis
Starring Sanjay Dutt, Bipasha Basu
I Hate LUV Storys
Tere Bin Laden
Production UTV Motion Pict.
Production Walkwater Media
Director Punit Malhotra
Director Abhishek Sharma
Starring Imran Khan, Sonam Kapoor
Starring Ali Zafar, Barry John, Chirag Vohra
R E L E A S E S
Help Production T-Series
Production Rupali Aum
Director Pooja Bhatt
Director Rajiv Virani
Starring Himesh Reshammiya
Starring Bobby Deol, Mugdha Godse
Genre Horror, Thriller
F U T U R E Khatta Meetha
R E L E A S E S Udaan Production UTV Motion
Production Hari Om Entertainment Co.
Director Vikramaditya Motwane
Starring Rajat Barmecha, Ronit Roy
Starring Akshay Kumar Genre Comedy
Genre Family Drama
Production Aamir Khan production
Production Anil Kapoor Films Director Rajshree Ojha
Director Anusha Rizvi
Starring Abhay Deol, Sonam Kapoor
Starring Omkar Das Genre Drama
ADVERTISERSâ€™ INDEX Company Name
Email / Website
Walls & Ceilings
firstname.lastname@example.org / www.anutone.com
email@example.com / www.barco.com
firstname.lastname@example.org / www.bluestarindia.com
Juliana.Tong@christiedigital.com / www.christiedigital.com
email@example.com / www.cinematoday.in
firstname.lastname@example.org / www.datasatdigital.com
email@example.com / www.dlpcinema.com
firstname.lastname@example.org / www.doremicinema.com
email@example.com / www.galalitescreens.com
firstname.lastname@example.org / www.harkness-screens.com
Hi Tech Audio
email@example.com / www.hitechaudiosystems.com
www.kinoton.com / firstname.lastname@example.org
email@example.com / www.scrabbleentertainment.com
firstname.lastname@example.org / www.uslinc.com
The next issue of TheatreWorld is our Autumn Special. It will be promoted at ShowEast - Florida, USA. The last date for advertising orders is 20 September 2010. Email email@example.com
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 interiors by Anutone Defined by the architect Engineered by the acoustician Enjoyed by audiences forever!
ANUTONE WALLS & CEILINGS a division of Anutone Acoustics Limited
231, 7th Cross, 1st Stage, Indiranagar, Bengaluru 560 038, India Phone 080 2520 3114 firstname.lastname@example.org MUMBAI Sadashiv 9892290254 Pritpal 9821079600 PUNE Roshan 9867265385
AHMEDABAD Pragnesh 9725810707 BHOPAL Suresh 9004654815 Dharmendra 9987094313
DELHI Jiten 9811065605 Chandra 9811981501 KOLKATA Pradeep 9880623510
CHENNAI Navin 9840773888 Prabhu 9940196440 Shabeer 9940070888
BENGALURU Rajesh 9845010814 Kailash 9686663409 HYDERABAD Ravi 9686663408
Published on Nov 15, 2017