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Time to spruce up! The developing regions of Asia, led by India and China, had a common striking feature ... until now. Cinema was the only or major form of public entertainment. However times are changing. Now cinema has to compete with other forms of

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TW TheatreWorld

Issue # 50 / July-September 2011

Never doubt that a small group of thoughtful committed people can change the world. Indeed, it is the only thing that ever has.

entertainment that include adrenaline-pumping sports, rocking live shows and scintillating performances in auditoria – concert, play or opera. A recent example is the two-month IPL extravaganza in India that made some big banners postpone their releases. Another example is neo-prosperous China that has learnt to take its holidays seriously, very seriously – right from the Chinese New Year and Spring Festival to the Golden Week of May to Dragon Festival and finally the Autumn Festival – the whole of China comes to a standstill with its denizens thronging holiday resorts and indulging in non-cinematic past times.

TEAM SANDY (in alphabetical order)

Bhavanashi Ramakrishna - Editor +9198 4587 2794

Bobby Chetia - Advertising +9198 9250 4871 Raghavendra T - Circulation Yashodhara S - Design & Layout

This means cinema has to continuously re-invent itself. While digital cinema and 3D are doing their bit, it is not enough. Cinema owners must make the

Printing Ramya Reprographic, Bengaluru

multiplex destination more attractive. Right now one can feel that circuits are either taking it easy or worse, taking their audiences for granted. Box office staff is indifferent even rude, concessions are no longer varied and tasty (it is the same variety as a few years ago), the carpeting is frayed, the stair nosings unlit, seats are clean but no longer look fresh, the AC is either to draughty or too stuffy and there is a general smell and feel of staleness. Mind you, the audio and video is good. And yes that is the heart of the cinema experience, no doubt. But other trappings are not in pace and they do play their role in wooing audiences back, again and again. Multiplexes ought to provide a refreshing experience. They are the epitome of the service industry, more particularly hospitality. And just like a jaded hotel is less likely to attract return business so too multiplexes. Owners and operators need to give this serious thought and refurbish or else blame themselves if patrons migrate to other forms of mass entertainment.

Sandeep Mittal

Editor / Publisher


July-September 2011

Published by Sandeep Mittal on behalf of Sandy Media 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India Phone +9180 2521 5107 / 2527 2812 Fax +9180 2521 5094 Regional Offices 17 Kuky Villa Jagdeep Cottage, 4th Road, Khar (W), Mumbai 400 052 Phone +9122 2604 2917-22 Telefax +9122 2604 2264 67 Masjid Road, Jungpura Bhogal, New Delhi 110 014. Phone +9111 2437 8061 Telefax +9111 2437 4848 B5, 2nd Floor, Gems Court, 14, Khader Nawaz Khan Road, Nungambakkam, Chennai 600 006 Phone +9144 2833 0906 Telefax +9144 2833 0907 RNI # KARENG02795/10/1/2002-TC Layout & Graphic Design Yashodhara S

This issue of TW has two sets of page numbers - International pages TW-1 to TW-60 for TW, and India pages TM-1 to TM-24 for TM. TM is inserted between pages TW-46 and TW-47 of TW.













Digital Europe

Cometh the Next Level TECHNOLOGY


Global Cinema

A Picture Total Digital CINEMA SYSTEMS





Projection Series-XXXIII

Heating in the Cinema



Review - CinemaCon




A New Cinesystem

Brazil's First All-Digital Cinema







Preview - Cinema India

Cinema Today CineEurope

CINEMASCOPE It’s been twelve 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


July-September 2011

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.

European BO Riches

Cinemas Cash in • 6.45 Billion While it’s been a big and buoyant time for cinemas worldwide in 2010, it’s been particularly big for European movie houses. The cinemas have raked in as much as around 6.5 billion Euros during the year - scaling record high box office collections. Digital, 3D, and some great exciting movie content contributing to the riches, the continental cinemas are breathing a new energy. Based on provisional data available, the European Audiovisual Observatory estimates that 2010 gross box office takings in the European Union increased by five percent year-on-year to around • 6.45 billion, the highest level on record. In contrast to 2009, box office growth was exclusively driven by an increase in average ticket prices as admissions actually decreased by 1.6 percent to 967 million tickets sold. These data seem to reflect the impact of 3D films in their second year on the market. While it can be assumed that the novelty factor of 3D had significantly contributed in driving growth in cinema attendance in 2009, 3D movies failed to further increase ticket sales in 2010 but kept cinema attendance at the second highest level since 2004, and caused the average ticket price to increase by an estimated 6.8 percent. A surge in 3D screens helped an increasing number of stereoscopic blockbusters to better exploit their market potential and caused market shares for 3D films to increase dramatically in major European markets like France and Germany, where they took 16 per cent and 17 percent of total admissions, or the UK and Russia, where they took 24 per cent and 20 per cent of total GBO. On the level of individual markets, 2010 was a year of mixed results with cinema going trends varying significantly across the individual European countries. Admissions decreased in 14 and increased in 13 of EU markets, while GBO increased in 18 and decreased in 8 of the EU markets for which provisional data were


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available. Theatrical markets, which performed particularly well were Italy, with admissions up 11 percent and France, where GBO rose 5.6 per cent. The dramatic increase in market share of primarily US 3D blockbusters over the past two years seems to have contributed to market share for European movies falling to the lowest level in the past five years. After steadily rising to 28.3 percent in 2008, the market share for European films in the EU decreased to 26.8 per cent in 2009 and 25.3 per cent in 2010, according to provisional estimates by the European Audiovisual Observatory. Market share for US films on the other hand grew from 66.9 percent to an estimated 68.0 per cent. This compares to levels ranging between 63 per cent and 65 per cent in the years 2006 to 2008. European movies produced in Europe with incoming US investment increased their market share from 4.0 per cent to 5.4 per cent thanks to the success of Harry Potter and the Deathly Hallows Part 1 and Robin Hood. Led by local hit Les petits mouchoirs, French movies once more attracted the largest number of admissions out of all European movies. Backed by strong results in their home market, Italian movies

ranked second, taking 4.1 percent, followed by German productions, which - thanks to Resident Evil: Afterlife - accounted for 3.1 percent of total admissions in the EU. 2010 saw EU production levels continue to grow to a new record in 2010, though at a slower pace compared to previous years. Based on the provisional data available, the Observatory estimates that a total of 1203 theatrical feature movies, including feature documentaries, were produced within the EU member states, 19 movies more than 2009. Production growth would have been more pronounced, but for a significant drop in German fiction productions which fell from 129 to 84 movies. As a consequence overall EU growth was driven by an increase in feature documentaries (up by 32 movies) while the number of fiction films decreased (went down by 19), raising the share of feature documentaries to 28 per cent, while fiction movies accounted for 72 per cent of total production volume in 2010. With 203 feature films receiving official recognition in 2010 France reached a historic record high and became again the country with the highest production output in Europe, followed by Spain with 186 films produced.

Three-D blockbuster Avatar topped last year's European charts, selling an estimated 43 million tickets in 2010, after having generated over 22 million admissions in 2009. Harry Potter and the Deathly Hallows Part 1 took a strong second place with 31.2 million admissions followed by 3D blockbusters Toy Story 3 and Alice in Wonderland. The EU charts were once more dominated by US 3D blockbusters, which accounted for 10 out of the top 20 films. Leaving aside the latest Harry Potter installment and Robin Hood, both UK inward investment films financed by a US studio, no European movie made it into the top 20. The most successful European movies without incoming US investment were French comedy Les petits mouchoirs, attracting an audience of over 5.4 million people across the EU, followed by German 3D horror action film Resident Evil: Afterlife which sold 5.3 million tickets.

Christie shows 'Water for Elephants'

Chrisite announced that the Christie CP 2230 was the projector of choice for the screening of Water for Elephants at the opening gala of the 14th Shanghai International Film Festival (SIFF) 2011 at the Shanghai Grand Theatre. "Christie is honored to present this premium movie-screening experience to all the guests at the opening gala event of the film festival," said Frank Xiao, general manager, Christie China. "We celebrate this success with everyone at the Shanghai International Film Festival." The Shanghai International Film Festival is a red-carpet event and graced by over 300 industry dignitaries and entertainers including media mogul Rupert Murdoch, and Oscar


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winners Matt Dillon and Susan Sarandon. Hong Kong celebrities Alan Tam and Kitty Zhang, Thai heartthrob Pong Bie, and Korean actress Jun Jihyun, are also expected to attend one of Asia's biggest and most influential film and entertainment industry events. Directed by Francis Lawrence, Water for Elephants is a romantic drama based on Sara Gruen's award-winning novel of the same name. Starring Reese Witherspoon, Robert Pattison, and Christoph Waltz, the movie was produced at a cost of US$38 million.

Christie Projects ShowCanada 2011 Canadian moviegoers have always expected the best in cinema quality and a full range of content on their screens, and the theatre owners who make up the Motion Picture Theatre Associations of Canada (MPTAC) have been meeting this expectation for many years. Helping them to achieve best-of-breed quality in projection and state-of-the-art digital signage and lobby displays is the goal of Christie, the exhibitors' valued partner, which now supplies 90 percent of the nation's digital cinema projector installations. The industry's 25th anniversary conference, ShowCanada 2011, held from 31 May - 2 June, in Ottawa, it was notable that Christie contributed greatly to Canada's knowledgebase in cinema and visual display technology. Notes Kathryn Cress, vice-president of global and corporate marketing, Christie: "Our commitment to customized solutions and Canadian service and support make Christie the exhibitors' choice for digital conversion among both Canada's largest theatre chains and its smaller, independent venues." For Cineplex Entertainment, Christie is part of the next-generation cinema experience. "Christie projectors provide the sharpest available onscreen image so our guests can enjoy the stunning imagery of today's movies the way they are meant to be enjoyed - on a big screen in a theatre," said Pat Marshall, vice-

president, communications & investor relations, Cineplex Entertainment. In March 2011, Cineplex hosted a world-first showing of a movie in 4K DLP cinema for moviegoers atGalaxy Cinemas in Waterloo, Ontario, using the new Christie CP4200 platform. The premium, high-definition 4K digital cinema format delivers four times more pixels than mainstream digital cinema and is capable of displaying on 2D screens as wide as 105 feet, and 3D screens as wide as 75 feet. Quebec's leading independent movie chain - Les Cinémas Ciné Entreprise became the first chain in Quebec to go 100 percent digital when it purchases 24 Christie CP2000 Series projectors. The chain is an innovator in offering advertising and promotional support to its member cinemas, and Christie's solution makes it possible to offer even more options. Christie supplied its powerful Cine-IPM processors to Cineplex for its February 2011 high definition (HD) screenings of traditional Japanese Kabuki Theatre at select cinemas in Toronto and Vancouver. Christie's Cine-IPM processing module converts incoming analog or digital signals into a format suitable for digital cinema projectors. It is renowned in the industry as the highest quality, format-conversion solution available, facilitating accurate display of alternative content such as theatre productions, broadcast television, satellite, business presentations and HDTV sources. It would not have been possible to show traditional Kabuki on the big screen without the processors. In January 2011, Christie shared the screen with Cinéma Pine at CinéQuébec 'Le Rendez-Vous Festif et Éclaté,' a four-day cinema industry celebration. Cinéma Pine, established in 1948, and the oldest, continuously operated, family-owned theatre business in Québec, showed private screenings of two new Québec releases, 'La Vérité' by Marc Bisaillon and 'Angle Mort' by Dominic James, using a Christie DLP Digital Cinema projector, the world's most installed brand. Christie is also a sponsor of Ciné-Québec, an annual conference for Quebec cinema professionals.

Christie's D-Cinema Training in Brazil Christie, world leader in digital cinema projection, and Cinema Equipment and Supplies (CES), a leader in the installation and service of digital projectors in Latin America and the Caribbean, hosted a 4-day Level 1 training and certification programme for exhibitors and technicians seeking to strengthen their expertise in the installation of Christie digital cinema projectors. The seminar, led by Christie and CES engineers and sold out almost immediately upon introduction, was held from May 24-27 at the AtlĂĄntico Hotel in Santos, Sao Paulo, Brazil. Brazil's first Christie certification programme offered an introduction to digital cinema that included a review of Christie hardware and software, digital servers and automation, macro title/ configuration, and 3D solutions and configuration. It also included practical, hands-on training with an industry-leading Christie digital cinema projector, which is recognized as providing the brightest images at the lowest cost of operation. Christie draws upon more than 80 years in the exhibition industry and global expertise in digital cinema to provide one of the most comprehensive training and certification programs available today. Upon completion of their Level 1 Training, participants will be recognized as authorized digital cinema technicians specializing in Christie projectors. Reflecting Christie's strong confidence in Brazil as a vital part of the company's global vision, one of Christie's top executives and earliest pioneers in the introduction of digital cinema to the Latin American market, Craig Sholder, vice president of Christie's Entertainment Solutions, personally lent his expertise at the seminar. His notable success in providing exhibitors with the highest quality digital cinema equipment has played an important role in accelerating the adoption of the technology.

"It is a great honor to be part of this important program. As a Christie Preferred Partner, CES - led by its president, Guillermo Younger - has been instrumental in bringing our technology not just to Brazil, but throughout Latin America and the Caribbean," said Sholder. "With the market demand for digital cinema projectors continuing to grow across the globe, it's important for exhibitors to have only the best in expertise, experience and dedication, and these are exactly the qualities that Christie and its partners like CES bring to the digital cinema marketplace." Added Younger: "There is a great demand for more technical training in digital cinema in Latin America. As the world leader in digital cinema, Christie's expertise and knowledge is unmatched by any other manufacturer. We are very pleased to be working with Christie, helping exhibitors and technicians to deliver the most exciting movie-viewing experience to audiences across the country."

Dolby Treats Cannes with 7.1 Experience Visitors to the world's most famous film festival got a taste of Dolby Surround 7.1 for the first time this year when the 64th Festival de Cannes screened a gala movie in the new audio format. The screening of Walt Disney Motion Pictures Pirates of the Caribbean: On Stranger Tides was one of the most sought after tickets of the 10 day festival, and one of more than 30 screenings supported by the engineers of Dolby's Production

Services Group who helped ensure audiences had the best sound experience. "Over the years, Dolby has grown with the Festival de Cannes and this year we were proud to include Dolby Surround 7.1 in the technologies we were able to support at the festival," said Julian Pinn, Director of Distribution Services, Dolby Laboratories. "Dolby has been a part of people's cinematic experience for 40 years; our extensive expertise has enabled us to build a strong relationship with the organizers and I look forward to continuing this relationship for another four decades." The Festival de Cannes is one of the longest running and most glamorous film festivals in the world with in excess of 35,000 attendees each year. Dolby is one of the key technical partners of the festival, contributing to its success by supporting screenings and working with the festival organisers to ensure everything runs smoothly. "Ever since 1974, Dolby has been a valued supporter of the Festival de Cannes in the pursuit of audio excellence." says Gilles Jacob, President of the Festival de Cannes. "In addition to their numerous advancements in cinema sound technologies through the years, the Dolby team of international consultants work tirelessly each year in Cannes alongside the Commission SupĂŠrieure Technique de l'Image et du Son (the CST) and the other Technical Partners of the festival. Dolby's central role within the world's post-production and distribution stages of the film industry provides a wealth of knowledge and experience to help ensure the technology used at the Festival de Cannes remains faithfully invisible behind the art of cinema." This year the festival also included a special screening celebrating the 40th anniversary of Stanley Kubrick's A Clockwork Orange. When originally released, it was the first film to feature Dolby's cinema technologies.

July-September 2011


Cinema Expo Renamed Cine Europe Cinema Expo - biggest platform of motion picture exhibition industry from the European continent - is now Cine Europe. The new branding, with an altogether new focus, also brings together two of the most vibrant entertainment entities, including one major from EuropePrometheus Global Media, and Union Internationale des CinĂŠmas, more commonly referred to as International Union of Cinemas (UNIC). "The name change reflects our continued commitment to the European motion picture community," stated Robert H. Sunshine, Managing Director of CineEurope. More, CineEurope and UNIC have also entered into a formal and longterm partnership that will make CineEurope the Official Convention of UNIC. CineEurope and UNIC are joining forces to ensure that the European theatrical industry is provided with the latest and the best possible information on new technologies, industry trends and upcoming films and hears the views and opinions of a range of high profile speakers from the European Union. By doing so, the annual convention will broaden the scope of its programming and attract the widest possible range of European theater owners and operators. "With CineEurope's 20 years experience as the leading event for European cinema exhibition and UNIC's membership and established contacts with international organizations in the film industry, as well as distributors, producers and film technology industries, CineEurope will be stronger and more productive than ever," said Sunshine. "I am delighted with the partnership between UNIC and CineEurope, as well as the name change," added Ad Weststrate, President of UNIC. "The support and expertise offered by


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UNIC members and our contacts in the international industry will make CineEurope an even more important event for European exhibitors and other cinema industry professionals as well as for colleagues in the European Union.. My UNIC colleagues and I look forward to working with the CineEurope team on this venture." Now in its 20th year, the CineEurope convention and trade show is the longest running and most prestigious event for the European cinema exhibition and distribution communities, which brings together around 2,500 cinema exhibition professionals from 60 countries to do business. The convention includes screenings of upcoming movies not yet released in the region, informative seminars dealing with operating and marketing motion picture theatres, gala sponsored food functions as well as a full-scale trade show for the equipment and concessions side of the business. The Coca-Cola Company is the Official Corporate Sponsor of the convention The UNIC: As the organization representing the overall and diverse interests of its membership, the Union Internationale des CinĂŠmas (UNIC) serves to protect the position of cinema exhibitors and liaises with, and makes representations to, both national and international authorities and institutions such as the European Union, the Council of Europe and UNESCO. UNIC represents exhibitors from 19 countries, viz, Germany, Austria, Belgium, Denmark, Spain, Finland, France, United Kingdom, Greece, Hungary, Ireland, Israel, Italy, Norway, The Netherlands, Switzerland, Turkey, Sweden and Russia, with over 28,000 screens and 800 millions admissions per year. Cinema exhibition companies such as AFM, Europalaces, Kinepolis Group, Mars Entertainment Group, UGC, Utopia Group (Luxembourg) and Vue Entertainment are also members of the influential body.

Doremi Achieves DCI-Compliant IMB Doremi Cinema confirmed its principal role in the evolution of the Digital Cinema industry by passing the Compliance Test Plan (CTP) and presenting the first commercially available, DCI-compliant Integrated Media Block (IMB) to be used in a DLP Cinema Series II projector. The DCI standard was created by the Digital Cinema Initiatives, LLC (DCI) to maintain specific criteria for the digital cinema industry such as high quality image, interoperability and content security. The Compliance Test Plan (CTP) was created by DCI as a uniform testing procedure for these standards. CineCert is the third part testing facility licensed by DCI to administer the testing procedures defined in the Compliance Test Plan (CTP) in the United States. "The team at DLP Cinema congratulates Doremi on this milestone," said Dave Duncan, manager of DLP Cinema for Texas Instruments. "We have had a long partnership with Doremi and value their commitment to excellence in the cinema industry." "Passing the CTP was unquestionably a challenge. We allotted vast engineering resources over the last year to guarantee that our promises to the industry and our customers were achieved," states Michael Archer, VP of Digital Cinema at Doremi. "Attaining DCI-compliance is mandatory for any server manufacturer wanting to play in the digital cinema space. With the studios pushing for compliant equipment, Doremi is once again ensuring their customers are not at risk within a VPF agreement when it comes to DCI compliant IMBs." With product lines covering playback servers, mastering stations, alternative content and access products, DCI compliance endorses Doremi's unparalleled server technology and emphasizes Doremi's position as a pioneer accustomed to taking the first steps into the ever advancing industry.

Barco Prime Choice for Dutch Cinemas Digital cinema pioneer Barco announced that Dutch cinemas are resolutely choosing Barco's digital projection technology. Until now, Barco has been selected by almost 20 exhibitors - including major cinema chains like the Wolff Cinema Group to convert over 200 screens. The rapid conversion is being made possible thanks to a nation-wide VPFfunding program. Wolff Cinema Group, owned by the Wolff family, is one of the main cinema chains in The Netherlands and operates 10 complexes all over the country. The group ran some digital tests last year, and recently chose Barco's DLP Cinema projectors for its full roll-out to digital. "We had the opportunity to test different projectors and decided that Barco is the best long-term solution for us," says Jordi Wientjes, COO of Wolff Cinema Group. "Its DP2K series offers stunning 2K image quality, extreme brightness and vibrant colors - ideal for giving our audience a picture-perfect movie experience. In addition, these projectors have the lowest cost-of-ownership in the industry, which will help us save costs in the future." Furthermore, Wolff Cinema Group has also installed Barco's DP4K-32B, being the first cinema chain in the Netherlands to offer Enhanced 4K DLP Cinema to its audience. All projectors are being installed via integrator FTT Filmtronics. The recent approval of the Dutch Digital Cinema Plan (Cinema Digitaal) is also opening the way for smaller cinema chains to convert to digital. This nation-wide roll-out, building on the Virtual Print Fee program and government funding, will enable the conversion of a majority of the country's cinema screens. The cinema complexes of the Movie Unlimited group are in the first group to be digitized as part of this plan. "We are very excited to be able to install digital cinema and to ride the 3D-wave that is fuelling the industry," says Sipke Molenaar of Movie Unlimited. "Thanks to the installation

of Barco's digital cinema projectors, we can now also benefit from the current 3D successes. Barco's DP2K-32B is the brightest digital cinema projector on the planet. Thanks to its record light output, it is the ultimate projector for 3D." CineCity and CineMec are also participating in the Dutch Digital Cinema Plan. Ad Weststrate, owner of CineCity, comments: "We have excellent business relationships with the Barco team. Their technical expertise and proximity have encouraged us to select the DP2K series for our digital conversion. The user-friendliness of these projectors, in combination with a low cost-ofownership and maximum uptime, make them the ideal future-proof investment for our cinemas." Gerben Kuipers, owner of CineMec, has had previous experiences with digital cinema, but selected Barco for its complete digitization: "Barco has a full range of digital cinema projectors, which allowed us to match the most cost-effective projector to each screen. In addition, we strongly favor their powerful modular design, extreme brightness and reliability." Other Dutch cinemas that have chosen Barco include: Lido, Trianon, Kijkhuis, Jogchems Theaters, Utopolis, Service Bioscoop Zien, Smokey Stadskanaal, Euroscoop, Minerva, Mustsee, Fulcotheater, Luxor Reuver, Hollywoud, Luxor Theater and Wolff's partner cinemas Figi, Cinem'Actueel, Cine Service and City.

Barco's D-Cinema Technical Training In a continuing effort to promote technical mastery of its industryleading DLP Cinema projectors, Barco University's Center of Excellence is introducing two new advanced digital cinema training certification programmes. With these additions, Barco offers the industry's most comprehensive training and certification program for installing, operating, and servicing complete digital cinema projection systems.

The two new classes include Projector Operations and Basic Troubleshooting and Theater Systems Integration, to augment its existing curriculum of installation, operations and service training programmes. Taught by highly experienced industry professionals, these classes ideally complement the Center of Excellence's current courses: Installation and Basic Maintenance, and Advanced Diagnostics and Service. The expanded curriculum will enable projector operators and designated theater personnel to successfully install, operate, integrate, service and troubleshoot Barco's digital cinema projection systems. The new Projector Operations and Basic Troubleshooting course is a oneday certification class designed for theater managers, cinema owners, booth technicians, projectionists, and other key personnel that are new to digital cinema. Students will learn about the technology behind 2D and 3D digital cinema, and receive detailed instruction on how to operate a Barco digital cinema projector, utilize the touch screen Communicator, and perform troubleshooting and basic operator maintenance tasks. The new Theater Systems Integration class is a Barco-exclusive course, providing the most in-depth instruction available in regard to the entire digital cinema workflow. This highly advanced four-day course strongly emphasizes "hands-on" participation and the importance of computer networking in the digital cinema domain. Topics include theater management systems, projectors, media players, 3D systems, automation systems, light and color calibration equipment, audio calibration equipment and pre-show content systems. The founding principle of the Barco University Center of Excellence is the importance of certification. "By expanding our curriculum, we are underscoring the fact that we offer a truly valuable portfolio of critical knowledge," explained Scott Nipper, Training Manager for Barco North America. July-September 2011


Barco Powers Croatian Cinema Blitz Digital cinema pioneer Barco announced that Blitz-CineStar, Croatia's leading cinema operator, has selected Barco as exclusive digital cinema projector partner. Within the space of a year, the cinema chain will transform all of its ten multiplexes to state-of-the-art digital cinema complexes. Last month, Croatian cinema chain Blitz-CineStar inaugurated its brandnew all digital flagship multiplex in Zagreb's prestigious new Arena Center. It is the most exciting multiplex in the capital of Croatia and is equipped with ten Barco DP2K digital cinema projectors. In addition, Blitz-CineStar operates nine other multiplexes that the company is converting to digital with the help of Barco. "A full conversion to digital cinema was a must for an ambitious chain like Blitz-CineStar," says Hrvoje Krstulovic, Blitz-CineStar Board Member. "The bar had been raised very high, both for quality and the timeframe: we wanted a technology partner that could offer a reliable, high-quality and futureproof digital solution for all our multiplexes, within the space of just a year." After carefully examining the available digital cinema projectors, BlitzCineStar selected Barco's DP2K series. The cinema chain ordered all of the different DP2K projector types, each one tailored to fit the auditorium and screen size. "This approach helped us save costs, while providing us with the perfect set-up to meet our varying needs," continues Krstulovic. With the rollout being halfway, BlitzCineStar can already see the benefits: "Movies and cinema are our passion so we don't settle for anything less than the best technology. Barco has met, or even exceeded, our expectations. They succeeded in meeting the tight deadlines and the image quality is beyond compare. In this way, they really help Blitz-CineStar deliver the exciting cinema experience that we always dreamt of," concludes Krstulovic. Barco's DP2K projectors represent the most complete projector family


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available today - with models for every screen size and budget. Bundling best-in-class light efficiency, lowest lamp cost and easy serviceability Barco's DLP CinemaÂŽ projectors guarantee perfect reproduction of movies time after time. They ensure that theater-goers enjoy the highest quality movie experience - with razor-sharp images, consistently uniform and accurate colors, and rich contrast.

Barco Expands Digital Stakes in Canada Barco, a worldwide leader in digital cinema, promotes its expanded Canadian service offerings and extended Canadian team at ShowCanada, reinforcing its strong commitment to Canadian theater owners. In addition to delivering the broadest range of both 2K and 4K DCIcompliant digital cinema projectors in the industry, Barco's strong, local presence in the region is bolstered by an expanded network of local parts depots across the country that provide 24/7/365 response, including the ability to ship parts via overnight delivery and counter-to-counter or "next flight out" service. In addition to this robust service and support, Barco's ability to bring non-recourse, off balance sheet financing for VPF-supported digital cinema deployments truly provides turnkey solutions for Canada's exhibition community. "We already knew that Barco had the best technology in the industry, and their ability to rapidly deliver parts within Canada, even to our remote location, really gave us comfort that we had selected the right partner," commented Clermont Labrie, owner

of Cinema Princesse Rivière-du-Loup, Quebec, Canada. "Our Canadian Barco team is 100 per cent available to serve our customers, offering a locally-based, and easily accessible approach to sales, service and support, ensuring the best possible experience for our Canadian customers," commented Danny Sergeant, VP Sales and Managing Director for Barco Canada. "We are very excited about the growth in Canada and looking forward to supporting these progressive exhibitors who are making the leap to digital cinema." In addition to Sergeant, other key personnel representing the Canadian Barco team and Barco's worldwide organization was present at ShowCanada, held between 31 May-2 June, including Marc Porlier (Business Development Manager, Canada) and Patrick Lee (vice-president for Barco Digital Cinema, North America).

Barco Projects Turner Classic Movies Belgian visual solutions major Barco has powered its way with its exclusive 4K digital cinema projection solutions at the prestigious 2011 TCM Classic Film Festival. Held from 28 April-1 May in Hollywood, brought to the big screen digitally-restored classic films like Citizen Kane, The Godfather and Breakfast at Tiffany's. With over 70 screenings and dozens of movie celebrities in attendance, Barco joined a highly celebrated event to honor the classic era of American and European cinema. The movies were screened at Grauman's Chinese Theatre, the Chinese 6 Multiplex, the Egyptian Theatre, the Hollywood Roosevelt Hotel and the Music Box Theatre, which is celebrating its 75th anniversary. Barco brought to place its DP4K-32B to screen the ageless masterpiece movie classics that have been painstakingly digitally restored to their original glory. "Turner Classic Movies believes in the highest standards in presentation, and Barco's unparalleled technology

allows us to show these renowned classics in their most pristine form," said Genevieve McGillicuddy, managing director of the TCM Classic Film Festival and senior director of brand activation for TCM. "We're proud to work with Barco in presenting these films as they were meant to be seen." DP4K-32B, the flagship model among Barco's fully DCI-compliant line of digital cinema projectors, features Texas Instruments' 1.38" DLP Cinema chip to achieve stunning images in 4K resolution (4,096 x 2,160). Its ultra brightness and vibrant color accuracy produces razor-sharp images to offer a premium viewing experience. The DP4K-32B's efficient optical design and patented DMD cooling system result in exceptionally long lifetime and the lowest total cost of ownership. "We are honored that TCM has chosen Barco to help celebrate these internationally-acclaimed classics," commented Patrick Lee, VP Digital Cinema for Barco North America. "Their choice of digital cinema projectors speaks volumes about their dedication to upholding the highest standards in presentation. We both admire and respect their commitment to restoring such an important part of motion picture history." Turner Classic Movies is a Peabody Award-winning network that presents great films, uncut and commercialfree, from the largest film libraries in the world. Currently seen in more than 85 million homes, TCM features the insights of veteran primetime host Robert Osborne and weekend daytime host Ben Mankiewicz, plus interviews with a wide range of special guests. As the foremost authority in classic films, TCM offers critically acclaimed original documentaries and specials, along with regular programming events that include The Essentials, 31 Days of Oscar and Summer Under the Stars.

Meyer EXP Sound Powers Pacific Theatres The breathtaking impact of Meyer Sound's EXP cinema loudspeaker systems was driven home by the first screening of Thor on screen 9 at Pacific Winnetka 21 multiplex in Chatsworth, a suburb of Los Angeles, California. Working in tandem with a new Dolby 3D projection system, the heightened sonic experience of EXP cinema sound technology is a key component of Pacific Theatres' "Immersive 3D Experience." In order to give moviegoers an enhanced 3D experience with the sonic impact that they cannot get in conventional cinemas or at home, Pacific Theatres management chose to install a permanent Meyer Sound EXP cinema sound system. "The accurate delivery of the creative content is of the utmost importance to the movie going experience and the EXP System exceeded our expectations. Meyer Sound was very professional in their approach to the design of the sound system while effectively collaborating with all of our partners in the project. It was a pleasure topartner with Meyer for this renovation," says Joe Miraglia, Director of Design, Construction and Facilities for Pacific Theatres. The Meyer Sound EXP installation-the first of its kind to be installed in a California commercial cinema-was part of a thorough technology and amenities upgrade for screen #9 of the

multiplex. The all self-powered EXP system comprises Acheron 100 and Acheron LF screen channel loudspeakers, flush-mounted HMS-10 surround loudspeakers, and X-800C cinema subwoofers. The system is precisely optimized by a Galileo loudspeaker management system with Galileo 616 and Galileo 408 processors. The EXP audio upgrade complements the new 79-foot wall-to-wall curved screen, which helps simulate the feeling of being surrounded. New dual digital NEC projectors equipped with the Dolby 3D system were installed to create a crisp, bright image. The auditorium was completely refurbished including new wider, more comfortable seating. The extensive technology upgrade package was installed by Universal Cinema Services of Euless, Texas in conjunction with ACS Enterprises of Walnut, California, under the supervision of the Dolby technical team. Audio system design was provided by Meyer Sound Design Services using the MAPP Online Cinema acoustical prediction programme. Pacific Theatres operates eight cinema locations with more than 100 screens in Southern California, while a sister company, ArcLight Cinemas, operates an additional 61 screens at four locations in the same area. Both exhibitors are owned by the Decurion Corporation of Los Angeles.

TCM also stages special events and screenings, such as the TCM Classic Film Festival in Hollywood; produces a wide range of media about classic film, including books and DVDs; and hosts a wealth of materials at its website http:/ /

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Meyer Sound EXP Powers CinemaxX CinemaxX AG, the Hamburg, Germany- headquartered European cinema chain announced plans to equip a total of 60 screens throughout Germany and Denmark with Meyer Sound EXP cinema loudspeaker systems. The audio upgrade program is scheduled for completion by 2013. "With Meyer Sound EXP, we have an audio component that is fully equal to the 4K digital image," says Christian Gisy, CinemaxX CEO. "Investing in EXP already has proven to be a wise decision, and working with Meyer Sound has been an absolute joy." The largest in CinemaxX history, the audio upgrade project began in 2010 with screens in Hamburg and Copenhagen, with more recent retrofits in Berlin and Munich. Screens equipped with Meyer Sound EXP systems are advertised as featuring a "MaxXimum Sound" experience. "Since installing our EXP systems, our audiences have noticed the amazing difference," continues Gisy. "Attendance for our 'MaxXimum Sound' screens has increased noticeably." Systems integrator and installer for the entire program is Film Ton Technik Hannsdieter R端ttgers GmbH (FTT) of D端sseldorf, Germany. The self-powered EXP cinema systems encompass Acheron速 screen channel loudspeakers, coupled with Acheron LF low frequency screen channel loudspeakers. Also included are X800C cinema subwoofers and HMS-10 surround loudspeakers, with precise digital optimization by the Galileo速 loudspeaker management system. At recent EXP upgrade location CinemaxX Isartor in Munich, theater manager Walter Liebold is excited to be on the leading edge of film exhibition. "We are very satisfied with the sonic improvements," he notes. "Quite simply, Meyer Sound is the new standard for cinema audio." CinemaxX AG, publicly traded holding company, operates cinemas in Germany and Denmark with a total of


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34 cinemas, about 300 screens and approximately 80,000 seats. EXP is Meyer Sound's first product line created exclusively for the uniquely demanding requirements of cinema applications. EXP installationstypically in conjunction with 4k digital projection screens-are now in operation at commercial cinemas in North America, Europe, and Asia. In addition, EXP is fast becoming the monitoring standard for film sound production, with systems now in use at California studios Skywalker Sound, American Zoetrope, and at De Lane Lea in London.

Cineplex to build three Imax theatres Cineplex Entertainment, and Imax Corporation announced an agreement under which Cineplex will acquire three new digital Imax systems in addition to upgrading seven of its existing Imax film-based projectors to digital Imax systems. The three new theatres will be located in Winnipeg, Manitoba, at SilverCity Polo Park Cinemas, and in Ontario at SilverCity Windsor Cinemas and SilverCity Ancaster Cinemas. "Our Imax theatres have always been very well received by our theatre guests," said Ellis Jacob, President and CEO, Cineplex Entertainment. "We are pleased to extend the premium Imax Experience to new audiences in Southern Ontario and Winnipeg, and to upgrade seven of our existing Imax projection systems to digital, bringing our total Imax locations to 12." "We are happy to enter into this expanded deal with Cineplex, which has been a long-standing and successful exhibitor partner for Imax in Canada," said Richard L. Gelfond, CEO of Imax Corporation. "We are particularly pleased that two of the new Cineplex Imax locations will open in time to benefit from the exciting slate of summer blockbusters scheduled to be released in the Imax format, such as the July releases of Transformers: Dark of the Moon: An Imax 3D Experience and Harry Potter and the Deathly Hallows: Part 2: An Imax 3D Experience."

Empire to Build Three Imax Theatres Empire Theatres, a Canada-wide film exhibition company with 50 theatres, and Imax Corp announced that Empire Theatres will be adding three new Imax digital theatres to its network this year. In addition to an existing location in Halifax, Nova Scotia, those in the Empire Theatres network that have been chosen to deliver The Imax Experience include: Empire Theatres Country Hills, Calgary, Alberta; Empire Theatres Kitchener, Kitchener, Ontario; Empire Theatres Avalon Mall, St. John's, Newfoundland and Labrador. The Empire Theatres Bayers Lake, Halifax, NS, Imax screen will be converted from film to digital projection to allow for a greater range of Imax blockbuster hits to be shown. "We are excited to partner once again with Imax Corporation to bring The Imax Experience to our theatres in these markets," says Dean Leland, Vice-President, Studio & Media Relations, Empire Theatres. "Imax delivers premium viewing experiences in both digital and 3D that our guests are looking for." "Today's announcement highlights our commitment to expanding in the Canadian market, and to continuing our successful work with key partners like Empire Theatres," said Imax CEO Richard L. Gelfond. "With these three new systems, we are scheduled to have 22 commercial theatres operating in Canada by November, more than double the size of our Canadian commercial theatre network as of November 2010." All the three Empire Imax new locations would be open for Harry Potter and the Deathly Hallows: Part 2: An Imax 3D Experience on July 15, 2011. The Empire Theatres Studio 12, NL location will be open in September 2011.

Smartjog Welcomes 300th Cinema in France SmartJog, the global leader in managed digital delivery services and subsidiary of the TDF group, is excited to welcome UGC as one of its newest clients and announced today that UGC CinĂŠ CitĂŠ Lyon is the 300th theatre in France to connect to the SmartJog network. SmartJog plans to connect a total of 20 UGC sites in France and 3 in Belgium by the end of May. All of the theatres will use the SmartJog's solutions and technology. "SmartJog's solution offers operators greater programming flexibility, thanks to fast, reliable and secure film distribution," states Laurent Rieupeyrout, Technical Director of UGC cinemas. "Since the beginning of digital cinema, we have partnered with Hollywood studios, producers, post houses, operators and advertising agencies for the exchange of their most critical content. Today, we are happy to welcome one of the largest cinema complexes to our network.

Their trust in the service drives us to continue to offer new and innovative tools and solutions," adds Nicolas Dussert, Director of Digital Cinema Sales at SmartJog. "Distributors who use our service have a major advantage as our network of connected cinemas continues to grow, giving them the ability to reach a larger footprint.", a theatre booking system which was designed for distributors and developed by CN films, interfaces with the SmartJog platform and relies on the network roll-out to allow distributors to activate and monitor the digital sending of content. "SmartJog has already linked 60% of French cinemas with digital transfer capabilities. By using, a distributor is able to systematically digitally deliver films as soon as the cinema has been connected. This simplifies logistics for the distributor and allows the operator to receive films and trailers directly into their

projection booth", emphasizes Thierry Delpit, Development Director at CN films. With UGC, SmartJog has successfully connected all of France's largest cinema screen networks, and as well as many French independent cinemas. On average, SmartJog installs around twenty new sites a month in France and plans to connect 500 of the country's cinemas by the end of 2011. SmartJog's technology and its satellite platform lie at the heart of the TDF Group's digital cinema strategy. The SmartJog teams work very closely with TDF's European subsidiaries, allowing SmartJog to expand in Europe with more than 80 cinemas connected across Belgium, Germany, Finland, Spain, Portugal, Switzerland and England. As of today, over 200 feature length movies have been delivered to European theatres by SmartJog.

July-September 2011


An Eco Picture of Entertainment

Silver Screen Goes Green Cinema, while long been considered, and continues to be, largely an instrument of popular entertainment, also often been employed as an effective channel for social messaging and public awareness on issues of larger interest. Taking the echo of with the ‘Go Green’ buzzword onto big screen entertainment format, there have been eco-friendly movies like Earth and Oceans. Moving further cinema is calling for saving the Savannas, and their ecosystem. The silver screen is truly going ‘green!’ When the movie Age of the Stupid was first premiered over two years ago in London’s Leicester Square by means of a ‘solar-powered cinema tent,’ and conducted without the use of mains electricity, it not only made a record or sorts, but also set an agenda: Movies echoing Eco. An independent audit conducted by Carbon Accounting Systems found the event’s carbon emissions to be 1 per cent of those produced by a normal blockbuster premiere. Linked by satellite to 62 cinemas around the UK, the premiere received a Guinness World Record for being the largest film premiere ever, based on number of screens. While the movie continued to make records, taking the cause further to conserve the eco-system of Mother Earth, is Disney’s recent movie ‘African Cats,’ as a move to Save the Savanna in Kenya. The objective was to help protect over 50,000 acres of land in Kenya’s Amboseli Wildlife Corridor on behalf of the moviegoers who came out to see Disneynature’s motion

picture African Cats during its opening week (April 22-28, 2011).

frequently used by a variety of wildlife.

A portion of the proceeds from the opening-week ticket sales – amounting to over eight million dollars in the USA alone – were donated to the African Wildlife Foundation (AWF) through the Disney Worldwide Conservation Fund to ensure the future of lions, cheetahs, elephants, zebras, giraffes and a host of other animals in the vibrant African savanna.

“We’re so proud that audiences nationwide have embraced the film and the ‘See “African Cats,” Save the Savanna’ initiative,” said Alan Bergman, President of The Walt Disney Studios. “The conservation efforts Disneynature has supported so far span the globe—from planting trees in Brazil, to preserving coral reef in The Bahamas and now protecting this essential passage in Kenya—they’ve become an extraordinary part of our films and audiences have played a key role in helping our planet.”

The first week collections from seven Latin American countries amounted to over 600,000 dollars while the same from Asia-Pacific are yet to flow in. The Box Office amounts thus collected has reportedly far exceeded the expectations of Disney. The area to be protected equates to 100 Disney’s Animal Kingdom Theme Parks or more than twice the size of Manhattan. The AWF will be working to establish the Amboseli Wildlife Corridor, a passage between the Amboseli, Tsavo West and Chyulu Hills National Parks that is

“The ‘See “African Cats,” Save the Savanna’ programme transformed the moviegoing experience into tangible on-the-ground conservation action,” said Dr. Patrick Bergin, CEO, African Wildlife Foundation. “The commitment of Disneynature combined with the passion of moviegoers will raise critical funds to conserve the land that the magnificent species featured in African Cats call home,” he said and added, “through

The Disney’s Nature Disneynature, the first new Disneybranded film label from The Walt Disney Studios in more than 60 years, was launched in April 2008 to bring the world’s top nature filmmakers together to share a wide variety of wildlife subjects and stories with theatrical audiences. Earth (opening Earth Day 2009) was the first movie to premiere domestically under the new label, and garnered a record-


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breaking opening weekend for a nature documentary. Its Buy a Ticket, Plant a Tree initiative led to the planting of three million trees in Brazil’s Atlantic Forest. Hitting theaters

on April 22, 2010, Oceans was the third highest grossing featurelength nature film in history. Its See ‘Oceans,’ Save Oceans initiative helped establish 40,000 acres of marine protected area in The Bahamas, preserving essential coral reefs. Walt Disney was a pioneer in wildlife documentary filmmaking, producing 13 true-life adventure motion pictures between 1949 and 1960, which earned eight Academy Awards.

this amazing collaboration, we celebrate our 50th Anniversary together with Disneynature and all the people who are helping establish the Amboseli Wildlife Corridor.” While the opening-week ticket sales were to help protect the Amboseli Wildlife Corridor, the conservation efforts tied to African Cats were not meant to end there. Additional collaborations are committed to adding at least another 15,000 acres to the programme– from the sale of artwork and jewelry inspired by the film, to the sale of Jordin Sparks’ The World I Knew single, to the Cast Member Earth Month pledges across the Walt Disney Company, plus more. These programmes, many of them ongoing, support the Save the

Savanna initiative, are expected to have a positive long-term and sustainable impact on the animals and people of Africa. “See ‘African Cats,’ Save the Savanna” continues Disneynature’s conservation efforts, which began with its first release, Earth (2009), for which three million trees were planted in Brazil’s Atlantic Forest. The programme in support of Oceans (2010) helped establish 40,000 acres of marine protected areas in The Bahamas, which contain miles of vital coral reef. The Story of African Cats: An epic true story set against the backdrop of one of the wildest places on earth, African Cats captures the real-life love, humor and determination of the

majestic kings of the savanna. Narrated by Oscar-nominated actor Samuel L. Jackson, the story features Mara, an endearing lion cub who strives to grow up with her mother’s strength, spirit and wisdom; Sita, a fearless cheetah and single mother of five mischievous newborns; and Fang, a proud leader of the pride who must defend his family from a rival lion and his sons. Disneynature brings The Lion King to life on the big screen in this true life adventure directed by Keith Scholey and Alastair Fothergill of Earth Fame. An awe-inspiring adventure blending family bonds with the power and cunning of the wild, African Cats leapt into theatres on Earth Day, April 22, 2011.

The Eco-friendly Age of the Stupid Making a radically new paradigm shift in cinema exhibition, Age of the Stupid set too many records to rave about. It’s the world’s first movie to be premiered though solar-energy system and conducted without the mains power. The film is set in 2055 and follows an old man played by Pete Poslethwaite as he looks back over video footage as to what cause global warming, the results of which show that it was us who just allowed the world to die. This film only cost around $700,000 to make, the money was raised through donations. The UK premiere received the accolades of ‘Best Green Event’ from Event Awards and Best Live Brand Experience in the PR Week Awards. In the UK, The Age of Stupid was released in 62 cinemas in its opening week, and hit the top of the Box Office charts by screen average). The total run was 13 consecutive weeks, playing in 263 cinemas in all, with the longest single run being four weeks at London’s Odeon Panton Street.

The Age of Stupid was launched in Australia and New Zealand on 19 August 2009 with simultaneous green carpet premieres in Auckland and Sydney, linked by satellite to 32 cinemas in Australia and 13 in New Zealand. The film was then released in all 13 cinemas in New Zealand and many of the 32 in Australia. The film was released internationally on 21 September and 22 September 2009 at the global premiere. A green carpet cinema tent in downtown New York, powered by locally sourced biodeisel, was linked by satellite to 442 cinemas across the USA and to over 200 cinemas in more than 30 other countries, as well as another 33 countries which hosted independent screenings with no satellite link. Popular musicians Moby and Thom Yorke from Radiohead performed live. Special guests at the New York premier included Kofi Annan, Ed Miliband, Mohamed Nasheed, Rajendra Pachauri, Heather Graham, and Gillian Anderson. Pranksters, The Yes Men, walked up the green carpet in their “survivaballs”. [13] Many guests arrived by low-carbon transport, including sailing boat, rowing boat, electric car, bicycle, bicycle rickshaw and rollerblades.

In Germany, the film was premiered in Berlin and Hamburg on 1 June 2010, followed by a limited cinema release in twelve cities: Berlin, Hamburg, München, Nürnberg, Bonn, Frankfurt, Potsdam, Gütersloh, Freiberg, Göttingen, Bremen, Hannover and Köln. The film had limited theatrical releases via distributors Mongrel Media in Canada and via Arts Alliance all across Europe, AsiaPacific and Southeast Asia. The film was also shown in several local venues worldwide through Indie Screenings - a web-based form of film distribution, pioneered by Franny Armstrong, Age of Stupid’s Director, which allows anyone to buy a license to hold a screening of the film, keeping the profits for themselves.

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Megabox KINTEX Debuts Asia's First Meyer Sound EXP Asia's first Meyer Sound EXP cinema system is wowing moviegoers at the premium "M" screen at Megabox's KINTEX near Seoul, South Korea. EXP's Asian debut is the latest in a recent string of EXP commercial cinema installations in North America and Europe. "The film exhibition market in Korea is fast-growing and extremely competitive," says Brooke Lee of Kinoton Korea, supplier and integrator of the fully self-powered Meyer Sound EXP system. "The dynamic power and accuracy of EXP proved a perfect match for the upscale 'M' concept, which features luxury seating, a 19meter-wide screen, and Sony 4K digital projection." The "M" screen at the new KINTEX multiplex is equipped with EXP Acheron 80 and Acheron 100 screen channel loudspeakers, supplemented by Acheron LF low frequency screen channel loudspeakers. Sub-bass thrusts from six X-800C subwoofers, and immersive sound comes through 18 HMS-10 surround loudspeakers. The entire experience is optimized using a GalileoÂŽ loudspeaker management system with one Galileo 616 processor. Meyer Sound consultant "dB Dave" Dennison designed the system and calibrated it for uniform response

throughout the 200-seat auditorium using the SIM 3 audio analyzer. According to Kinoton Korea's Chris Bae, the aggressive growth of Korean cinema operators points toward more premium screen installations with Meyer Sound EXP systems. "EXP systems have a power and clarity that greatly enhances the audience experience, and that sells tickets," emphasizes Bae. "In addition, the self-powered EXP loudspeakers have much lower maintenance costs, which is also very appealing to the operators." Meyer Sound's first product line created exclusively for the uniquely demanding requirements of cinema audio, EXP systems have been chosen by commercial operators seeking to heighten the total patron experience by providing sound on par with highquality digital projection systems. EXP installations now include CinemaxX in Denmark and Germany, Solaris Kino in Estonia, and Cinetopia in North America, in addition to a number of film postproduction facilities that include Skywalker Sound, American Zoetrope, and London's De Lane Lea. Established in 2000, Kinoton Korea provides both conventional and digital projection systems and advanced sound solutions to commercial cinemas, broadcasters, and film and video production facilities across Asia.

Sony's New Finance Programme for Cinemas Continuing to provide full-service digital cinema solutions for exhibitors of all sizes, Sony Electronics is offering a unique new programme for exhibitors to participate in the 4K digital cinema conversion. The "Exhibitor Managed Financing Program" allows a theater to own their installed digital cinema equipment and, through participation in Sony's Virtual Print Fee (VPF) programme with major Hollywood studios, reduce their total cost of ownership as they convert to digital technology. Under this new programme, exhibitors will purchase equipment and extended warranty on the projector from Sony directly, with Sony managing the back-end VPF billing and collection process on their behalf. Exhibitors will also enter into a long-term services agreement with Sony for equipment maintenance. "Sony is committed to making our 4K Digital Cinema equipment available to exhibitors of all sizes," said Pat Leon, Senior Manager, Business Development. This new Exhibitor Managed Financing Program fills a gap in the market. It enables small exhibitors who, for strategic or financial reasons, wish to own the equipment outright to give their customers the Sony 4K experience while simultaneously benefitting from the lower total cost of ownership that a VPF program affords." The program includes Sony's 4K Projector, a central storage server, a Theater Management System, and 10year equipment warranty as well as transportation, installation, and regularly scheduled maintenance of the projector. As usage fees are paid on the projector, Sony will bill and collect those usage fees on behalf of the exhibitor and retain a percentage of the total usage fees as compensation for Sony's administrative services. To support this model, Sony has arranged non-exclusive relationships with financiers, including GE Capital, to help exhibitors who are interested in


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exploring new financing options. However, exhibitors are under no obligation to use GE Capital. Exhibitors who have existing relationships with preferred financing partners are able to maintain those while still participating in this program. NOTE: Exhibitors have the right to seek financing from any source, including GE Capital, and are under no obligation to use GE Capital. It is recommended that prior to entering into any financing, an exhibitor should determine, without reliance on GE Capital, its affiliates, or any financing source, the economic risks and merits, as well as the legal, tax and accounting characterizations and consequences of any financing and independently determine whether such financing is appropriate for its needs. The reference to GE Capital in these program materials is not, nor should it be deemed as, a promise or guaranty that any such financing would be forthcoming; such decision being solely and exclusively that of such financing source, in the exercise of its independent discretion.

Sony's First Euorpean 4K Outing the projector thumb print certificate in addition to the server certificate, which is becoming the industry norm. This enhances the security of all digital content, allowing cinemas to meet the high DCI compliance requirement which the six major Hollywood Studios have agreed upon.

Sony Corporation and Showcase Cinemas Cardiff On Tuesday, 26 April 2011, successfully performed the first commercial screening in Europe on a fully-DCI compliant projection system. In March, Sony Corporation announced that its Digital Cinema 4K projection systems were the first to successfully complete the full range of compliance tests for specifications required by Digital Cinema Initiatives (DCI). Sony was accredited under the DCI specification for its "integrated projection systems." The new DCI-compliant Key Delivery Message (KDM) structure must carry

"It is with great pleasure that we announce that Sony Digital Cinema 4K has once again taken the lead in this industry," says David McIntosh, Head of Digital Cinema at Sony Europe. "We were the first to launch a 4K resolution projector, with 4 times the resolution of a 2K projector. We were the first to launch the "easy on the eye" 3D solution with our partner RealD. We were the first to pass the high standard DCI Compliance Security design projection system. Now, we have successfully screened fully DCI-Compliant content at our exhibitor partner Showcase Cinemas, in Cardiff - the first such screening in Europe."

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Enter New Player:

Indiefilmnet The domain of alternative content distribution has a new player, and with a new business proposition altogether. Indiefilmnet (iFN) - as the new player is called - is beckoning cinemas with a unique tagline of 'where cinema meets culture.' It offers unique services to movie theatres featuring an all-inclusive membership package of high quality diversified content, leading edge technology and various levels of promotions. While the company is new, its management and operational team has decades of experience in classical and alternative content distribution, as well as advanced cinema technology expertise. Drawing on this wealth of experience, iFN has forged a Cinemacentric approach focusing on profitability and success of every content item it accepts for distribution. According to the company, it has already signed up a number of member cinemas and content partners, and started rolling out selected content, leading with its popular 'Cinema Meets Culture' series. The short term goal of iFN is to accumulate a worldwide digital network of 300 plus cinemas. The company is currently negotiating network participation with over 200 cinemas worldwide. iFN CEO Ilya Sorokin, had previous associations with Montreal-based DigiScreen Corporation as a shareholder and an advisor where he learned the business of Classical content distribution. A combination of that knowledge with extensive Wall Street technology and business management expertise provided the baseline for expeditious rollout of iFN by attracting top notch personnel and technology. "The ultimate company focus is on serving cinemas, content providers and end users worldwide. We are starting with the cinemas as a focal point of our business model," Sorokin says. "While we continue to expand our cinema membership base, the company will be increasing its content portfolio by adding 3D original content, live and recorded concerts,


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sports events, classical, documentary and many other channels targeting interested audiences," he says, adding, "the last, but most important prong of our business model is the moviegoer iFN will be focusing on a social network approach to engage and interact with the audiences worldwide in order to provide them with the appropriate viewing experience".

Cine Danaos Adds More Kinoton Equipment One of the most prestigious cinemas in Athens, Cine Danaos, has added to its high-quality projection equipment by installing a Kinoton DCS Digital Cinema Solution in its large, 600-seat auditorium. The DCS projection system includes a DCP 30 LX II Digital Cinema Projector with renowned DLP Cinema technology from Texas Instruments, mounted on a pedestal that has been shortened to adjust for the elevated projection platform in the booth. An integrated Dolby 3D system ensures thrilling stereoscopic cinema. A practical rail system makes it possible to move the DCS system away from the Kinoton FP 25 E film projector standing next to it for easy servicing and then precisely reposition it for the next digital show. Cine Danaos kicked off its digital 3D programme with Wim Wender’s dance movie Pina released on April 24.

The DCS Digital Cinema Solution was expertly installed by Pittas Motion Picture Equipment, Kinoton’s valued sales and service partner in Greece. Two previous installations were of Kinoton FP 25 E film projectors with digitally controlled intermittent drive. These projectors are often used to show archival prints on 600m spools in changeover operation. Cine Danaos successfully bolsters its programme with documentaries, special showings, and events, thanks to a Kinoton Cine Player HD E-Cinema system that is fully interconnected with the analog and D-Cinema projection systems. Shows are completely automated, even ringing bells in the lobby to let patrons know that it is time for them to take their seats. Cine Danaos makes full use of its comprehensive lineup of projection equipment to put on a variety of special shows and very popular film festivals. Local filmmakers also appreciate its versatility and often book the theater for their premieres and press screenings.

Harman's New Blockbuster Range at Cinema India Harman Professional India will showcase a range of technologically advanced, hi- quality professional audio products at this year's Cinema India Expo 2011. The company seeks to present an exclusive preview of complete sound solutions for commercial cinema segment through Cinema India platform. JBL Screen Arrays: Continuing to provide cinema exhibition venues and post production facilities with unprecedented audio performance and advanced technology, JBL introduced the "next generation" of its award winning ScreenArray digital cinema loudspeakers. Designed for maximum output, optimal coverage, and minimum distortion the ScreenArray series offers a variety of models for the diverse needs of various cinema applications. The 3722N and 4722N Passive systems and 3722 and 4722 Bi-amplified systems are designed to meet the challenges posed by low-cost installation, while providing the smooth and accurate sound reproduction with ultra-low distortion that is expected from a JBL Cinema system.

The 3731, 3732, and 4732 ScreenArray Series systems are THX approved systems that are also available for biamplified or tri-amplified operation. Along with the brand new 3730 ScreenArray, these speakers feature three-way system design enhanced by advanced engineering for maximum output, optimal coverage, and minimum distortion. JBL Professional's best technical innovations are integrated in a system design that provides ideal power response and directivity control with seamless transitions between acoustic sections. The JBL Ultra High Power ScreenArray speakers provide extreme power for large format cinemas and are designed to enhance 3-D visual experience. Both the three-way and four-way systems provide THX approved sound and utilise Screen Spreading Compensation to correct for high frequency dispersion through perforated screen. Both the 5742 and 5732 systems feature a 150 Watt, 4" titanium diaphragm high-frequency compression driver on JBL's patented Optimized Aperture waveguide. Crown Amplifiers: Harman is also introducing its new Crown DSi Series power amplifiers to steer Indian cinema audio to new highs. The DSi Series offers four models of 500W, 800W, 1,200W, and 2,100W per channel at 4 ohms. All models are THX approved, featuring onboard digital signal processing including crossovers, EQ filters, delay and output limiting.

The rear panel HD-15 connector provides easy input/output connectivity between DSi amplifiers and the new DSi-8M System Monitor. The intuitive front panel LCD screen guides installers through a setup process- featuring presets for the industry-standard JBL cinema loudspeaker systems- to make configuration quick and easy. At the touch of a button, Crown's DSi cinema amplifiers deliver perfectly matched performance with each awardwinning JBL ScreenArray system, making this the ultimate cinema solution. Crown XLS Series: Crown's XLS Series amplifiers define the standard for cinema systems with unmatched performance, technology and affordability. The high performance class-D amplifier combined with its integrated PureBand Crossover System deliver unmatched performance and sound; while its multiple inputs let you plug in anything you want. The integrated crossovers and switch-mode power supply produce superior sound, and Peakx limiters protect your speakers. Simply put, the XLS is most reliable, versatile, efficient amp available today. Through years of development and innovation, Harman International has created a range of products that truly fill cinema halls with the best possible sound. The cinema products from Crown and JBL work together perfectly to enhance the audio experience for cinemas across India.

July-September 2011


Meyer's Smallest EXP CinemaLine Meyer Sound has expanded its EXP cinema line with the introduction of the compact Acheron Designer screen channel loudspeaker. Developed in close consultation with leading movie sound designers and post-production facilities, Acheron Designer brings the low-distortion sonic quality of the other members of the EXP series to sound design studios, sound editing suites, as well as private screening rooms and small theaters. Now the seventh loudspeaker in Meyer Sound's EXP cinema product line, Acheron Designer is the smallest in the family. Its compact dimensionsmeasuring only 19 inches wide, 25.37 inches tall, and 14.62 inches deep-are optimal for installations where space behind the screen is limited. With an operating frequency range is 37 Hz to 18 kHz and a peak output of an impressive 130 dB SPL, the Acheron Designer renders the most demanding digital soundtracks with a wide dynamic range and full fidelity. The patent-pending horn is designed to have a soft roll-off outside the extremely well behaved coverage angle, while the loudspeaker's low 580 Hz crossover point is ideally suited for cinema applications as it directs most of the dialog signal through the HF horn. Production prototypes of Acheron Designer have been in use by several noteworthy development partners in California, including Skywalker Sound, Bay Films, and 20th Century Fox Sound Editorial Department. "Everybody is very happy with the sound and headroom of the Acheron Designers," says John Morris, supervising sound editor and sound designer, 20th Century Fox. "The speakers sold themselves!" A proprietary Meyer Sound twochannel amplifier powers the fourinch high-frequency diaphragm compression driver and 12-inch lowfrequency cone driver independently. Convection cooling of the rearmounted, recessed heat sink allows the Acheron Designer to be placed flat up against a wall when necessary.


July-September 2011

Meyer Sound's EXP cinema line of products now includes the Acheron 80, 100, Studio, and Designer loudspeakers, the HMS-10 surround loudspeaker, as well as the Acheron LF low frequency screen channel loudspeaker, X-800C cinema subwoofer, and Galileo loudspeaker management system. EXP has been installed in a growing number of commercial cinemas in North America, Europe, and Asia, and is fast becoming the benchmark monitoring standard for film sound production, with installations in facilities including American Zoetrope and De Lane Lea in London.

Qube Cinema Unveils QubeMaster Xport

Qube Cinema, world's leading digital cinema services platform, introduced its QubeMaster Xport at NAB 2011 in Las Vegas, providing a full Digital Cinema Package (DCP) mastering solution for Final Cut Pro users. Qube also presented the product at the Final Cut Pro User Group's SuperMeet. Built on Qube's proven mastering technology, the QubeMaster Xport plug-in gives filmmakers, post houses,

and pre-show content creators a seamless workflow from editing through finishing and DCP mastering. The most recent addition to the QubeMaster line of DCP mastering applications, QubeMaster Xport is a plug-in for Compressor 3.5. QubeMaster Xport utilizes a 64-bit encoding pipeline, critical for encoding the computationally intensive JPEG2000 format, and its multi-threaded architecture takes full advantage of today's multi-core processors. The software includes the necessary color space conversion to the XYZ color space and also has the capability to apply custom 3D LUTs to source files while encoding. "The QubeMaster technology has delivered DCPs to thousands of theaters around the world," said Eric Bergez, director of sales and marketing at Qube Cinema, "but rather than having to buy expensive dedicated systems, QubeMaster Xport allows FCP users to work within the familiar Final Cut environment at a fraction of the cost." Using QubeMaster Xport is as simple as sending a Final Cut sequence to Compressor. The artist can make full use of the Compressor feature set in creating their DCPs, including batch processing of user-defined DCP settings. QubeMaster Xport DCP settings can also be saved as Compressor Droplets, providing the ease and efficiency of drag-and-drop mastering of any sequence. All formats supported by Final Cut Studio, such as ProRes, RED, XDCAM, DPX, TIFF and many others including stereoscopic 3D content - can be mastered to 2K and 4K Digital Cinema with QubeMaster Xport. "This means that anyone who uses Final Cut Studio will now have the means to finish, package and distribute DCPs," explained Bergez. "Because it works inside the Final Cut suite, QubeMaster Xport provides the final step in a complete post-production pipeline. This puts Digital Cinema within reach of filmmakers and facilities." Pricing for QubeMaster Xport starts at US$799, which allows for encoding of 2K DCPs. Stereoscopic 3D and 4K upgrade options are also available.

Qube Cinema is offering competitive upgrades for QuVIS Wraptor license holders. QubeMaster Xport is available now for download from the Qube Cinema web site at products/xport. The download includes a fully functioning, watermarked demo version to allow for evaluation before purchase. Support for QubeMaster Xport is available at http:// Qube Cinema will soon unveil a new KDM key generation system, which will allow QubeMaster Xport users to provide encrypted DCPs with secure exhibitor keys. QubeMaster Xport is the most recent addition to the QubeMaster family of Digital Cinema mastering products. QubeMaster Pro is a comprehensive mastering system aimed at high-end post facilities and distribution service providers. QubeMaster Xpress is a userfriendly standalone Windows-based DCP mastering application.

Small is Big World's Largest Cinema Screen in Batumi It’s yet another classic case of small sporting big. Adjara, the tiny republic in Southwestern Georgia, coasting with Black Sea, is making ‘big’ headlines, and quite cinematically. The republic’s cinema administrative body Ýzmir Cinema Association plans to set up the world’s largest screen in the autonomous region’s capital Batumi. A project proposal to this effect had already been presented to Georgian Prime Minister Levan Varshalomidze. According to the Association chairman Kayhan Kýrmýzýgül, the proposed cinema screen would be 40 meters wide and 22.5 meters high, equal to an eight-story building. The open-air cinema project with the world’s largest screen would make the city more popular within a short time, he asserted. “Batumi wants to be known all around the world. This project will be a remarkable factor for the city’s promotion.”

Chairman of the Government of Adjara, Levan Varshalomidze showing the cinema project planned to be set up in Batumi

The association would organize a four-week cinema festival on the screen, he announced. “World-class film galas will be held there and we will bring together the world’s bestknown directors and artists. There will also be exhibitions and presentations and Batumi will be known as the ‘city with the world’s largest screen,’ giving it a significant place in international cinema.” Kýrmýzýgül said the event would feature a special program for Turkish cinema. “We will show films from famous Turkish directors there,” he said. Cinema is really going place, and big!

July-September 2011


Cinemark Installing Closed Captioning Cinemark will provide a closed captioning option for people who are deaf or have significant hearing loss in all of its first-run theatres. Cinemark is installing captioning systems on a rolling basis across its circuit in conjunction with the chain's conversion to an all-digital format. Installation started early this year and about half of Cinemark's theaters in California already have captioning capability. Cinemark will be able to offer closed captioning at all of its first-run theaters by mid 2012.

closely with ALDA in setting the timetable for installation of captioning capability in California. ALDA also agreed to dismiss a lawsuit the organization filed in late 2010 over captioning issues in Cinemark's California theatres. They were represented by Sid Wolinsky and Kevin Knestrick of Disability Rights Advocates, a non-profit legal center, headquartered in Berkeley, California, and John Waldo, an attorney whose practice focuses on the needs of those with hearing loss.

Movie captions convey the dialogue, narration, musical cues, and key sound effects, speaker identification and other auditory information, in the form of written text for those viewers who have significant difficulty hearing the movie sound track. Closed captions are relayed-in sync with the movie-only to members of the audience who choose to receive them via a personal display device. The captions are not visible on the screen to the rest of the audience.

"We are pleased with Cinemark's support for captioning. This decision makes first-run movies available to millions of patrons who are deaf and hard-of-hearing in California. They deserve to participate in this quintessential American experience," said Knestrick.

Cinemark selected the CaptiView Closed Caption Viewing System from Burbank-based Doremi Cinemas to transmit the closed captions to audience members who desire the assistance of captioning. CaptiView provides captioning to those who have significant difficulty hearing the movie soundtrack via an OLED display on a bendable support arm that fits into the theater seat cup holder. This device, provided to movie patrons upon request, operates on an internal wireless system and can be used in any seat in the theatre. The OLED screen provides exceptionally clear captions. The device is also equipped with a privacy visor, which ensures that the captioning has no impact on neighboring movie patrons. The Association of Late-Deafened Adults, an advocacy group for those with who have lost some or all of their hearing, applauded Cinemark's commitment. Cinemark has worked


July-September 2011

"We want to commend Cinemark for the prompt and cooperative way it resolved this case," Waldo said. Linda Drattell, a plaintiff in the case said, "I am delighted that around this time next year people who are deaf and hard-of-hearing will be able to watch first-run movies at Cinemark theaters throughout California." "Cinemark was pleased to collaborate with ALDA," said Michael Cavalier, general counsel and senior vice president of Cinemark, USA, Inc. "The conversion to digital cinema has facilitated the development of closed captioning systems like CaptiView. We now have a platform that makes full implementation of a captioning system viable. Cinemark has worked closely with our suppliers to make certain that we are providing the highest quality closed caption system." Laura Franze, a partner with the law firm of Hunton & Williams, who represented Cinemark in working out the settlement with ALDA, said, "Cinemark has long recognized the importance of making the movies it exhibits accessible to deaf and hardof-hearing audiences and has

supported captioning in different forms for many years. With the conversion to digital cinema and the development of digital closed captioning systems like CaptiView, Cinemark was moving ahead to full implementation of closed captioning even before this lawsuit was filed." Michael Archer, Vice-President of Digital Cinema at Doremi said, "when we began the in-house design of the CaptiView product two years ago, we worked closely with Cinemark, our long-term partner, to create a viable, high-quality product that displays closed captions for digital cinema. We are pleased to have this opportunity to work with Cinemark to provide captioned movies to their patrons across the country."

Deluxe/Exchostar Rave about Carmike Connect Deluxe/EchoStar LLC announced that it has signed a deal with Carmike Cinemas, the fourth largest exhibitor in the U.S., for satellite distribution of content to Carmike's circuit of 239 theaters. Carmike's digital cinema footprint reaches 2,103 screens in 36 states of which 596 have 3D capability. Satellite equipment installation will begin immediately and is expected to be completed by the end of the year. Carmike's theatres are primarily located in communities across smalltown America. This new service will deliver 2D and 3D digital cinema prints in 2K and 4K formats, 2D and 3D alternative content, trailers, as well as connect to live events and other media programming. The system also accommodates closed captioning, subtitles, and gaming. Benefits include faster delivery of content by transmitting a movie in hours and a trailer in minutes, as well as reducing traditional freight costs associated with shipping hard drives to theaters. Carmike Cinemas President and CEO David Passman stated, "as one of the

pioneers and earliest adopters of theatrical digital cinema presentation, Carmike is delighted to partner with Deluxe/EchoStar on this new venture. We look forward to providing our valued cinema-going customers with cutting-edge experiences featuring a tremendous array of digital content through this important, mutually beneficial agreement." "Deluxe/EchoStar is committed to building a satellite distribution infrastructure so that exhibitors can connect to all forms of entertainment content including current releases, classic films, and live events," stated Rick O'Hare, Senior Vice President, Deluxe Entertainment Services Group, and General Manager, Deluxe/ EchoStar LLC. "With Carmike Cinemas' dedication to presenting the best possible movie going experience for its patrons, I am pleased that we were chosen to be a part of that experience," adds John Wolski, Vice- President, Exhibitor Services for Deluxe. Pact with Rave Cinemas: Deluxe/ EchoStar also announced signing an agreement with Dallas-based Rave Cinemas, LLC, the fifth largest exhibitor in the U.S., for distribution of content via satellite to Rave's circuit of 817 digital screens in 20 states operated under the Rave Motion Pictures brand. Rave's state-of-the art theaters offer stadium seating, digital projection, multiple 3D capable auditoriums and plush rocker seats. Rave strives to make the theatrical experience the best way to see a film or the new and exciting alternative content programming. Rave's CEO Rolando Rodriguez said, "we are delighted to partner with Deluxe/Echostar on this new venture that will provide infinite possibilities for connecting our audiences to new content." "Deluxe/EchoStar's satellite distribution network continues to expand with exhibitors, such as Rave, who recognize the value of being connected electronically," stated Rick O'Hare, Senior Vice President, Deluxe Entertainment Services Group, and

General Manager, Deluxe/EchoStar LLC. "Rave has shown leadership and growth by embracing technology in the exhibition experience, and I am delighted that we were chosen to help them link to this new state of the art satellite service," adds John Wolski, Vice-President, Exhibitor Services for Deluxe.

Doremi's Clearview to D-Cinema Doremi announced that Clearview Cinemas has selected the Doremi Integrated Media Block (IMB)/ ShowVault as its exclusive playback solution for the circuit's conversion to digital cinema. Clearview Cinemas is one of the New York metropolitan area's largest film exhibitors, operating 46 theatres with 243 screens across the tri-state area, including the legendary Ziegfeld Theatre. With 42 of its screens already using Doremi servers, Clearview will continue to implement the servers across additional screens through the current year. "Clearview is committed to providing moviegoers with an enjoyable and quality entertainment experience and digital cinema is an integral part of that experience," said Doug Oines, senior vice president and general manager of Clearview Cinemas. "That's why we've continued to partner with Doremi, the industry leader for digital cinema server technology, and use their reliable products and services in our theatres." "We are thrilled that Clearview Cinemas has selected Doremi Cinema as their server company," said Hannah Cash, Senior Sales Manager of Doremi Cinema. "We look forward to providing them not only with Digital Cinema playback solutions, but also products for alternative content and cinema accessibility to meet their customers' needs." Doremi Cinema is the world's leading provider of Digital Cinema playback servers and has been dedicated to

extending its technology and services to theaters of diverse capacities and necessities with solutions that cover all aspects, including mastering stations, access products, alternative content and 2K/4K solutions.

Doremi to Digitize Santa Rosa Cinemas Doremi Cinema announced its agreement with Santa Rosa Entertainment Group's theaters for the implementation of Doremi's DCI Compliant Integrated Media Block (IMB) for the completion of their Digital Cinema rollout. The digital conversion and installation phase has commenced, with completion anticipated by the summer of 2011. The agreement entails the full-fledged installation of the industry's first DCI Compliant 2K/4K IMB spanning a chain of theaters comprised of 81 screens, providing not only pristine quality and reliability, but a future proof upgrade path to 4K as well as 48fps & 60fps. "Doremi was our provider of choice due to several factors, most notably their compliance with DCI (Digital Cinema Initiative) standards, asserted by their recent completion of the CTP (Compliance Test Plan), which is a strong indicator of Doremi commitment to meeting the requirements of the industry" commented Neil Pearlmutter. "Their dedication to developing technologies beyond playback servers will allow our circuit to benefit from all aspects of digital cinema. Being a US manufacturer, Doremi also has the added value of local engineering, technical support and inventory." Michael Archer, Vice-President of Doremi Cinema adds "we are very pleased that Santa Rosa has identified DCI Compliance as being a necessary requirement when choosing digital cinema server technology. We have gone to great lengths to pass the required test plan and we appreciated Santa Rosa acknowledging the importance or our achievement."

July-September 2011


Ciné Entreprise Digital with Christie Les Cinémas Ciné Entreprise, Quebec's leading independent movie chain, has purchased 24 new Christie CP2000 Series projectors. They will be installed over the next year, making the chain one of the first in Quebec to go 100 percent digital. The company is the first independent exhibitor in Canada to purchase the Christie 4K projection solution. With more than 50 screens in Quebec, Ciné Entreprise is one of the province's oldest chains. It specializes in presenting original French-language productions from both Quebec and international studios. "The Quebec market is one of the richest in North America in terms of original content, much of it locally produced," notes John Hallman, senior manager regional sales, Canada. "It also has a very high rate of conversion to digital, and with our leading-edge technology and reliability, Christie is the ideal supplier for helping Ciné Entreprise make the transition." Says Raffaele Papalia, president of Ciné Entreprise, "we have built our business by giving our customers the best entertainment viewing experience available, especially through innovation in film and sound quality. Christie is helping us move our business into the digital age." Ciné Entreprise was a pioneer in offering advertising and promotional support to its member cinemas, and Christie's solution will offer the technical capabilities needed to provide even more options such as onscreen advertising. The fact that Christie has dedicated sales and support professionals available within Canada is a big plus for Canadian customers. The new projectors, like the 12 that the company bought two years ago, will be phased in at each theater in the off-hours with no disruption to movie schedules.


July-September 2011

Cinedigm Signs 100th Exhibitor in Phase-II Cinedigm Digital Cinema Corp announced it has signed 100 exhibitors in their Phase Two digital cinema deployment programme. Rogers Cinema, a member of the Cinema Buying Group of NATO, signed Cinedigm's VPF deployment agreement for 45 screens in eight locations, marking the 100th exhibitor to sign on to Cinedigm's Phase Two. Rogers Cinema, whose customers are encouraged to 'enjoy the magic of the movies,' is a nearly 40-year old family company that operates theatres in Wisconsin and Michigan. Cinedigm's Digital Cinema division is the industry-leading deployment program for Digital Cinema. It facilitates the funding, installation and operations support and ongoing VPF administration for the company's Digital Cinema rollout plans throughout the United States and Canada. Cinedigm, which has signed long-term VPF agreements with all the major studios and interim agreements with dozens of independent distributors, is also the digital cinema integrator partner for the CBG, a buying programme of the National Association of Theatre Owners (NATO) for independent theatre operators in the United States and Canada. "NATO and the CBG congratulate our partners at Cinedigm and all the many exhibitors who have made the move to digital cinema," said John Fithian, President of NATO. "This important technological transition will improve the quality and diversity of entertainment for our industry's patrons. We encourage all CBG members to work with Cinedigm and get on board the digital train now." In the combined Phase One and Phase Two digital cinema deployment

programme, Cinedigm has: •

Signed 8,012 screens overall at 786 sites

Installed 6,214 digital screens

Signed 71 Cinema Buying Group exhibitors, representing more than 1,500 screens

Signed exhibitor buyer deals representing more than 3,200 screens

Signed Phase Two Cinedigm financed deals representing close to 1,200 screens

"Cinedigm is without question the number one choice for exhibitors to entrust with their digital cinema program," said Chuck Goldwater, President, Media Services Group. "We have earned that trust with an unmatched record of reliability and proven performance, delivering on our promises since 'Day 1' of digital cinema. We are so proud of all our exhibitor partners, our vendor and lender partners, and especially appreciative of the tremendous support of our studio partners. We look forward to continuing to support their digital cinema business plans and ambitions for many years to come." Cinedigm offers a new business model to exhibitors by enabling theaters to present engaging alternative programming including live 2-D and 3-D sporting events and concerts, shorts, cartoons, live Q&A's, as well as branded entertainment. Recent releases by Cinedigm include the groundbreaking, worldwide LIVE 3D broadcast of the FIFA World Cup Championship, the BCS Championship in LIVE 3D, the Dave Matthews Band 3D concerts, and the sold out 3D PHISH concerts.


Digital Europe

Cometh the Next Level Europe - often mistaken as a continuation of American market forces - has its own way of growth stakes, quite cinematically, particularly when it comes to cinema exhibition business. Having exploded onto the digital entertainment domain - after being comparatively conservative when the world was going agog over the format - the continent is getting onto the next level of its march towards a probable total digitization in the near term- as against predictions of distant reality.

A geography that was playing cool and sedate till recently has suddenly began sporting new effervescence- a paradigm shift that promises to influence the global dynamic. The digital cinema! Till end 2008, except United Kingdom and Germany, no other geography in the continental Europe was as dynamic as any other active market on the globe- let alone China and India. However, since then, it began like an explosion, with France erupting with an unprecedented activism increasing its digital screen counts by astronomical rates - and within two years, it presented a whole different dynamic.

The French exuberance was followed by Italian activism, Spanish spirit, and Russian rejuvenation heralding a whole new era of digital Europe. With 2009 and 2010 coming to reflect the payoffs of the decade's hard work, Europe stood almost transformed by the beginning of first quarter this year. Consider this: •

Almost 2000 digital screens added across the continent bringing the total count to 12, 106

The increase is 19.6 per cent compared to screen count of 10,159 from Q4 of 2010

France emerged as the first European territory to exceed 2,000 digital screen threshold

Germany broke the 1000-digital screen count barrier

France also registered highest growth rate in 2k/4k and 3D digital install in Q1 2011

Over one third of total screens in the UK now are 3D digital

The top five geographies of the content - UK, France, Germany, Italy and Spain - account for as much as 70 per cent of the growth. More, that the Russian Federation, followed by another erstwhile CIS territory of Ukraine are pacing up too, the continental market has suddenly turned a rapid action area. According to a survey by Media Salles - an independent media research firm focused on European continent - the number of European screens equipped with DLP Cinema or SXRD technology at the end of 2010 totaled 10,346 with a 120.9 per cent rise compared to the previous year. Compared to the total number of screens in Europe, in December 2010 digital screens had achieved a market penetration of 29 per cent, more than doubling up from 13.4 per cent the previous year. July-September 2011


SPECIAL FEATURE As for the rate of market penetration for digital screens, highest figures came in from Luxembourg with 73 per cent, followed by Belgium which reported 65 per cent growth. The other major markets included the United Kingdom, Russia - both reporting 38 per cent each - France, Germany, Italy and Spain showing up respectively 34, 27, 23 and 19 per cent growth. The number of digital sites in Europe in December 2010 was 4,120, with a 74.1 percent rise over the previous year. The total market penetration of digital sites amounted to around 33 percent as against 18.7 percent in December 2009. Also on the increase has been the average number of screens in digital sites, which has risen from the 1.6 screens per site registered in December 2007, to 2.5 in December 2010.

countries. ?In December 2010, the highest figures were recorded in Belgium with 6.8 screens per cinema followed by Luxembourg and Portugal with 4.8 per cent each, and Austria, Latvia, Romania, Estonia and France reporting 4.3, 3.7, 3.6, and 3.5 per cent respectively. More, largest markets intriguingly returned lowest figures- Italy showed 1.9 screens per cinema, lower than the United Kingdom that had 3.1 screens per cinema. Spain had 2.6 and Germany had 2.2 screens per cinema. The

biggest markets in terms of ticket sales also accounted for the largest percentage of digital screens out of the overall total for Europe, so that France took the top honours with 18.2 percent of Europe's digital screens, followed by the United Kingdom (13.6 percent), Germany (12.1 percent), Russia (9.1 percent), Italy (8.8 percent) and Spain (7.3 percent). Regarding a comparison with the 2009 growth rates, the greatest development has been seen in the Scandinavian countries- Denmark

Interestingly, the average number of digital screens per cinema varies widely in individual European

Dutch ‘Cinema Digitaal’ Arts Alliance Media (AAM), Europe's leading digital cinema company, has announced that it has reached a deal with exhibitors and distributors in The Netherlands to transition the Dutch film industry to digital cinema. Under the agreement, over 500 screens across the country, from small art-house venues to larger chains' cinemas, will be converted to digital by Arts Alliance Media.

grant from Project Implementation ICT Agenda (PRIMA) and the Netherlands Film Fund (Nederlands Fonds voor de Film), and aims at digitizing the majority of the country's cinema screens. All independents and circuits, with the exception of Pathe, Euroscoop and Utopolis, are now part of Cinema Digitaal. The rollout will be based on the VPF model, with AAM managing collection and administration of VPF payments.

A special programme - called Cinema Digitaal - has been launched towards accomplishing this ambitious task. A unique notfor-profit organization formed by the Dutch Association of Cinema Exhibitors (NVB), the Association of Film Distributors (NVF) and EYE Film Institute Netherlands, and operative as a central management entity, Cinema Digitaal overseas the total digitisation project, ensuring support for all exhibitors during the switchover.

Under the deal, AAM will be the scheme's exclusive integrator providing, installing and maintaining the equipment, as well as providing VPF financing. AAM has VPF deals in place with five Hollywood studios, and is in negotiations with the 14 member independent distributors of the NVF to sign up to VPF agreements to finance the rollout.

The scheme is partly funded by the Dutch government, through a


July-September 2011

"This agreement is the result of sector wide effort to achieve a fast, efficient transition to digital cinema," says Ron Sterk, Managing Director of the NVB, and Managing Director of Cinema Digitaal. "We are very happy that all

cinemas, multiplexes and art-house, will be able to benefit from the advantages of digital projection." Michael Lambrechtsen, Managing Director of the NVF, adds "through this scheme distributors will secure their area of distribution for the widest possible range of both arthouse and mainstream titles in the Netherlands." According to AAM CEO Howard Kiedaisch, Cinema Digitaal initiative is a ground-breaking way of the industry working together, and AAM was delighted to be a part of it. The model of the industry leading the switch to digital itself is one they hope will be replicated in other territories. All the participating cinemas will have DCI-compliant digital projection equipment supplied and installed by Arts Alliance Media, which will also be upgradeable to 3D and satellite. The rollout is expected to begin during spring 2011.

SPECIAL FEATURE showed over 440 per cent growth compared to that of December 2009, followed by Norway with over 400 per cent and Sweden with over 300 per cent. However, considered from the perspective of five-year period between 2006 and 2010, the compound annual growth rate came greatest from Russian Federation which reported around 300 per cent growth, followed by Portugal with 210 per cent and Finland with over 200 percent. Interestingly, these are precisely the markets where the number of digital screens has increased significantly, especially up to 2009.

Tabel1: Digital cinema screens and sites in Europe (2003 – 2010, as at 31 December)

Tabel2: Digital cinema screens and sites in Europe by country (2007 – 2010, as at 31 December)

An obvious pointer to digital cinema growth has been that the development of digital screens is apparently more concentrated with regard to exhibition companies: by December 2010, the top ten exhibitors have been responsible for as much as 32.4 per cent of the overall number of digital screens. Odeon and UCI Cinemas Group accounted for eight per cent of total digital screens. The Group operates as Odeon Cinemas in the UK, and as UCI in Austria, Germany, Italy and Portugal while it is branded as Cinesa in Spain. French operator Europalaces which operates in Switzerland, France and Netherlands took 4.8 per cent stake while Cineworld Group with presence in the UK and Ireland made 3.9 per cent followed by CGR of France with 3.7 per cent and Kinepolis of Spain with 2.3 per cent. Three D cinema continued to be the biggest growth engine across the content, with the sole aberration of Spain. The penetration of screens equipped with 3D technology as a proportion of the overall number of digital screens increased to 81.5 per cent by Q4 of 2010 compared 74 per cent achieved by the same quarter of 2009. Complementing this growth are some newly emerged markets in Central and Eastern Europe, such as Croatia, Lithuania, Serbia and Slovenia, where the number of digital cinemas is still modest. The 3D screen base in these territories turned out to be 100 percent of total digital screens. This is also the case in Iceland. More,

even the Russian Federation reported almost 100 per cent (99.6 per cent in precise) for 3D digital count. Also, countries like Turkey, Hungary, Sweden, Poland, Denmark, Switzerland, Bulgaria, Italy, Finland, the Netherlands, Greece, the Czech Republic and Latvia all showed over 90 per cent growth rates. However, the percentage is lower in the United Kingdom, where it grew from 71.1 percent in December 2009 to 77.9 percent in December 2010, and in France, where it rose from 69.4 percent to 74.5 percent.

So, overall, it appears a 'digit-all Europe' is not far away, and more nearer than it was predicted previously. A very important aspect that contributed significantly to the near total digitization is the box office returns that have been filling out the cinema coffers more than the operators' expectations. (Read separate story on the European Box Office Riches). Therefore cometh the Next Level.

July-September 2011



Global Cinema

A Picture Total Digital While digital revolution in cinematic world is no news now, the coming of next level towards its completion is perhaps what best describes the rapid 'motion' in the exhibition picture. Fuelled by new 'enhanced' technology experiences and energized by growing enthusiasm across the globe, the cinema exhibition industry appears to be on fast-track to become total digital, albeit with minor aberrations. Interestingly, Latin America and African markets are joining the race, making new energy flow. A TW perspective: No recession blues; no major global upheavals; and no technology tussles and ambiguities. Just sheer enthusiasm to get to the next level of the 'broader, brighter picture!' With 2010 turning out to be a 'watershed year,' for global cinema in terms of primarily technology adoption and secondarily expansion, nay, consolidation of digital empires, world cinema is making rapid strides towards total digitization of movie theatres. Consider this: •


The total digital screen count on the globe by 2015 is estimated to exceed 100,000 of which around 42 per cent would be 3D digital

July-September 2011


The approximate number of digital screens worldwide by end 2015 would hover on 127,000 which is just about 40,000 screens short towards being total


Over 60 per cent of the screens worldwide would be 4k with or without 3D capabilities

That the industry across the continents showed unprecedented growth rates in 2010 proved to be a brand pedestal for world cinema to aspire for a total digital makeover. DLP Cinema - the Texas Instruments-promoted creator of D-Cinema concept - announced recently that nearly half of total worldwide screens would be equipped with its systems by the end of 2011.

There is enough steam to propel this prophesy. That there are roughly a little over 150,000 cinemas worldwide, and as many as 36,000 cinemas had been digitized by end 2010 itself, the current year - riding on successes given by 2010 - pretty much stands promised on the task, even if DLP were to fall short by a little. For, apart from its three potential licensees Christie, Barco, and NEC, the industry is gaining great energies from the competing solutions provider Sony. The Japanese electronics major had made its intentions clear when it recently announced that is gearing to equip as many as 30,000 screens in the coming months, and aims to grab 40 per cent market by 2013 - which is 50,000 screens approx.

TECHNOLOGY As per IHS Screen Digest survey of 2010 digital cinema scenario worldwide, the total number of digital screens more than doubled to 36,242 in 2010, from 16,339 at the end of 2009- showing a growth rate of 121.8 percent. North America led the race with 16,522 screens making as much as 46.2 per cent of global total while Europe accounted for 10,083 screens marking 28.2 per cent, followed by Asia with 7,703 screens staking 21.6 per cent of the global figure. Riding on the Avataric revolution, retold by Toy Story and Alice in Wonderland et al, 3D digital obviously led the charge with as many as 21,936 3D digital screens coming to cinemas in 2010- a phenomenal growth of 60.5 per cent rising from the 55 per cent achieved in 2009. The hoopla over 3D is reflected in that it outstripped the industry's overall growth, standing at 144.3 per cent. Again the Americas led the race with 38.6 per cent of global 3D digital roll outs, followed by Europe with 34.3 per cent and Asia with 21.2 per cent. "2010 was clearly an amazing year for DLP Cinema. Although the digital conversion was steady for the first 10 years, 2010 will be noted as a milestone in digital cinema history, as the number of DLP Cinema projectors nearly doubled in one year," says a top exec of DLP. "This decade looks extremely bright for DLP Cinema and its licensees," he says, adding, "together with our partners, nearly one-half of the world's theatre screens will be converted to DLP Cinema by the end of 2011."

According to him, in the period between March, 2010 and March, 2011, the number of DLP Cinema screens showing 2D Hollywood content worldwide grew 101 per cent to a total of 33,110 - up from 16,446 and 128 per cent for 3D Hollywood content, finishing at 22,287, rising high from 9,758. These figures, however, do not include the IMAX digital theatre installations powered by DLP Cinema, which separately grew by over 90 per cent, for a total of 296 screens rising from 155 during the same period. Interestingly, Latin America brought highest growth for DLP Cinema with as much as 187 per cent increase in DLP presence accounting for as many as 1,743 screens of which as much as 184 per cent is taken by 3D digital installs that touched 1,702 screens. Europe, Middle East, and Africa together accounted for a total of 11,428 screens of which 8,686 screens had 3D compatibility. The Asia Pacific region also experienced significant expansion, with an increase of 118 per cent rising from 5,447 screens a year ago to 8,343 screens by the March 2011, showing a growth of over 140 per cent. That Sony, on the other hand, is taking on the market with aggressive promos and enticing packages for exhibitors, promises to unleash its 4K and 3D roll-out campaigns for a major share. That it succeeded in getting its 4k technology accepted and adopted as a global standard continues to be a major push.

The 4K major's 'Exhibitor Managed Financing Program,' announced during CiinemaCon 2011, allows cinema operators to own the installed digital cinema equipment and, through participation in Sony's VPF programme with major Hollywood studios, reduce their total cost of ownership as they convert to digital technology. Under the new programme, exhibitors will purchase equipment and extended warranty on the projector from Sony directly, with Sony managing the backend VPF billing and collection process on their behalf. Exhibitors will also enter into a long-term services agreement with Sony for equipment maintenance. According to a company exec, "the new Exhibitor Managed Financing Program fills the gap in the market, enabling small exhibitors who, for strategic or financial reasons, wish to own the equipment outright to give their customers the Sony 4K experience while simultaneously benefitting from the lower total cost of ownership that a VPF program affords." The program includes Sony's 4K Projector, a central storage server, a Theater Management System, and 10year equipment warranty as well as transportation, installation, and support. The enthusiasm is reflected immediately by many small, even single theatre operators, throwing up a new global dynamic. Should the markets behave the same way for the coming three years, the cinema exhibition picture may as well be seen in total digitalbarring those few aberrations of markets not counted as stakeholders.

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A New Cinesystem

Brazil's First All-Digital Cinema In yet another statement of proclamation that Latin America is fast catching up with the rest of the world in new age digital cinematic entertainment, a new Cinesystem has come to the fore with all its technical grandeur. That it is coming from the continent's largest and one of the world's largest and most buoyant markets - the first of the BRIC bloc - makes it all the more significant and promises to herald a cinematic revolution that is already in motion. The new Cinesystem, the first all-digital multiplex in the continent, is powered by coming together of two most dynamic stakeholders of the digital revolution- Barco and Dolby, besides many. A TW perspective: Brazil, one of the four hottest and biggest potential markets in the world referred to as BRIC nations - Brazil, Russia, India and China - while maintaining a low profile till now even as the other three cousins surged past, suddenly came up with a thump. An all-digital multiplex! Cinesystem, Brazil's fifth-largest movie chain recently launched the country's and the continent's first all digital multiplex. The new Cinesystem multiplex created as part of the Via Brasil Shopping in the IrajĂĄ neighborhood in the state of Rio de Janeiro, is powered by Belgian projection major Barco and American cinema giant Dolby Digital Cinema. "Cinesystem is the only movie chain in Brazil now with two fully digital DCIcompliant complexes and we are excited to be a leading this industry trend for South America, says Marcos Barros, CEO, Cinesystem.


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Cinesystem at Via Brasil Shopping is the result of a $3 million investment, partially financed by the Federal Government through the programme Cinema Perto de VocĂŞ (Movies Close to

You), which is coordinated by National Cinema Agency (ANCINE), a partnership with the Ministries of Culture and Revenue, and managed through Brazilian Development Bank (BNDES).

CINEMA SYSTEMS Cinesystem made rapid strides in the Samba country in the recent times, riding on the new energies it acquired through technology, box office riches, and funding agencies. Some of the cinema's recent credentials include •

Named by the Movie Exhibitor's Union of the state of São Paulo, as the Best Brazilian Movie Chain

Expanded its presence in six states in Brazil including the south, southeast and northeast regions

Over 80 screens nation-wide

Ticket sales more than double that of national average - 55 per cent as against 22 per cent national average for the current year

Fifty per cent of the Group's multiplexes equipped with two or more 3D systems.

Moving rapidly on track to expand its network of digital cinema screens nationwide, Cinesystem made its latest venture the most vibrant statement of its commitment.

With capacity for 1160 stadium style seats, the multiplex will feature six Dolby Digital Cinema screens equipped with Dolby Screen Servers (DSS200s) and a Dolby Show Library (DSL100), a high-capacity central server designed to facilitate the networking of the multiplex to meet its content storage needs. The projection systems are powered by Barco's six DP2K-23B digital cinema projectors, including two screens with 3D screening capability. The DSL100 will act as the heart of the network and simplify operations. In addition, two of the six screens will have Dolby 3D systems that will bring movies to life with natural colors and sharp, clear images. All six screens will also be equipped with CP750 Digital Cinema Processors that will enable Dolby Digital 5.1surround sound. According to the Cinesystem CEO, "Dolby Digital Cinema brings Cinesystem more flexibility when it comes to programming and scheduling and the Dolby 3D and Dolby Surround Sound will truly amaze the customers."

"Cinesystem looks to set the bar for delivering the premium cinema-going experience in Brazil and Dolby is honored to be selected to provide our Digital Cinema solutions for their multiplex in Rio de Janeiro, says John Carey, Vice-President, worldwide sales, products, and services, Dolby Laboratories. "By combining Dolby Digital Cinema, Dolby 3D and Dolby Surround Sound, patrons attending the Cinesystem multiplex will experience a truly immersing entertainment experience." Barros is also all the more in praise for his projection partner. "We strive to deliver a premium cinema experience for our customers, and so we want only the best equipment. Barco's DP2K-23B projectors deliver a brilliant image quality and are extremely easy to use thanks to their modularity," he said, and added, "Barco digital cinema projectors will provide us with more opportunities for content diversification, more varied programming and flexible scheduling."

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Heating in the Cinema

In part-I of Unit IX, detailed in the last issue, we discussed some of the preliminary or basic issues involved in advanced methods of plant maintenance. Going further into the second part of the same unit this time, we shall discuss the issues involved in the maintaining the heating system in a cinema. For heating as well as ventilation, water and air are made to travel through pipes and ducts, both being subject to friction and consequently the greater the pressure to overcome it. However, this exercise comes with the pressures of power consumption as well as noise generation. It, therefore, requires utmost precaution and a sense of judiciousness. The source of heat in a cinema is usually a boiler, or a bunch of boilers depending on the size or number of auditoria to be heated. Irrespective of the fuel they use - oil or gas - they all rely on combustion. To obtain full and proper combustion, not only must there be a fuel but also the required amount of oxygen, which comes from air. The two must be thoroughly mixed. In case of the gas, it must be combined with air to obtain the best combustion. To obtain efficient combustion of fuel oil, it has to be atomized by forcing it through a fine jet so that it can mix with the air. Should there be insufficient air, it will lead to formation of carbon monoxide

Typical gas-fired boilers

Gas and oil burners are critically set to not only work at their most efficient but also at their safest. Their setting should not be adjusted or altered. It is sufficient to know that they are working within their specification. On top of or closer to the boiler, one can find a pressure gauge and some type of safety valve. Should the boiler pressure become too high, then the safety valve will operate and immediately release water to relieve the pressure. The valve setting, therefore, should never be altered.


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CINEMA SYSTEMS resulting in generating only one-third of the intended amount of heat. If there is too much air, the excess will go up the chimney taking a lot of the heat with it. Because the efficiency of combustion depends upon the best mix of fuel and air, it is ideally measured by analyzing flue gasses. This, of course, requires special equipment and experience. A more simple but less accurate method is to determine the proportion of carbon dioxide in flue gasses using simpler equipment. For example, a reading of about 15 per cent carbon dioxide in the flue gasses indicates a combustion efficiency of about 70 per cent- which, in other words, remaining 30 per cent is lost either up the chimney or by other deficiencies in the system. Since boilers are often remote and automatically controlled, some type of flame failure device system has to be fitted. If for some reason the flame goes out or fails to ignite on start up, it is vital to shut off the oil or gas instantaneously to prevent unburnt gasses entering the flue with a high risk of explosion. A bi-metal strip working on temperature would not react quickly enough as there would be a time delay of about 30 seconds, long enough for these unburnt gasses to collect in dangerous quantities.

Gas cut-off valves

the 'open vent' type and the 'closed circuit.' The older open vent type has a header tank, often situated in the roof, which keeps the system full of water. When water is heated, it expands and so is forced out of the system via the vent pipe, then as it cools water is drawn back into the system from the header tank. The newer type uses a pressurization unit and an expansion vessel. If the pressure is within prescribed limits for the system, the heating system can operate normally. High and low pressure alarms are fitted to the boiler in the event of a problem arising.

the control circuit to the boilers thereby switching them off and preventing them from burning. Often, these enclosed systems have to be filled due to the losses over time. This is often achieved by connecting a hose pipe to a tap and filling the system manually. Prolonged operation of the pressurization pump without sufficient water in the system may cause damage to the whole system. Pumps: Water is pumped around the system by electric circulator pumps which can be direct drive or belt driven. Both types have to be

A more common method is a magnetic valve which is held open by the current supplying it passing through the flame of the burner. This works on the principle that an electric current will pass through a flame and not a gas. Therefore, if two electrodes are fixed in the path of a gas jet whilst it is alight, current will pass and keep the valve open. If the flame goes out, current is cut off and the valve immediately closes down. Once the water is heated, it then has to be circulated through the building to heat it. This can either be done via radiators or by heated air or a combination of the two. Radiators are often used in office areas and air passing over heater banks for the larger public areas. Radiator systems: There are two types of radiator systems in use these days-

Pressurisation unit

In the event of loss of pressure, possibly due to a leak, or a rise in pressure which may again be due to the boiler's overheating problem, then the pressure switches within the pressurization unit will open and break

lubricated, usually about every six months, depending upon the type of bearings used. Pumps with ball bearings should be greased through the grease nipples provided but those fitted with sleeve bearings should only July-September 2011



Heating system pumps

be oiled through the lubricator provided. If the motor has ball bearings, they are pre-packed for life and require no lubrication, but if it has sleeve bearings, then they should be oiled regularly. The maintenance personnel should always follow the manufacturer's instructions for the type of lubricant to use and never over-lubricate as it can cause damage, particularly to the motors. The lubrication must always be done with the pump electrically isolated as it is sometimes necessary to remove the safety guards to access the lubrication points. If the pump has not been used for a period of time, it is advisable after lubrication to turn the impeller by hand to remove any debris which may have settled in the casing. If the pump and motor are separate then also check the belt or belts for wear. Look for cracks on the V belt side and base. These are generically caused by excessive heat which may in turn have been caused by the belt being too slack. Any swelling or softening is caused by contamination by oil. If the pump has more than one belt, it is better to change them all so that they can carry even tension. More, it is better using always the matched sets of belts. Any oil and or grease remains must be cleaned up from the pulleys, and rust or burns from the grooves. To fit the new belts, the centre distance to the pulleys must be reduced first until the belt


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Checking fan belt tension

slips into the groove by force. As the belts are tensioned the maintenance personnel should also check with a straight edge that the pulleys are correctly aligned, and their shafts are parallel. As a rule of thumb, a properly tightened belt should have about a 16mm deflection without exerting too much force. For smaller belts, the correct tension should allow a quarter to half a twist to be made on the belt by the finger and thumb half way between the pulleys. Venting: If the system falls short of water, it is possible that air will enter the channel and create trouble- by rendering the system inefficient. More, it will necessitate going round to each

radiator and checking if any air is trapped inside them. This is done by inserting a radiator key into a small release valve (bleed valve) at the top of the radiator, turning it to open the valve, and listening for the escaping air. Once all the air is expelled, water will begin to be released ( it is worthwhile carrying a cloth while doing this operation), and then the valve can be closed. Heater banks will also have bleed valves and it is worthwhile knowing where they are located s often they are in awkward and remote places. Similarly, the highest point of the system will have a bleed valve and it its location should be known.

Bleeding a radiator


REVIEW 28-31 March 2011 Las Vegas

CinemaCon - the official convention of NATO, and erstwhile ShoWest - had its very first convention under its new branding from 28-31 March at Caesars Palace in Las Vegas. The event turned out to be the largest and most important annual gathering of cinema owners and operators from around the world. With all of the fanfare and excitement of a major Hollywood Premiere, replete with stars and filmmakers, CinemaCon 2011 attracted upwards of 6,000 industry professionals, all on hand for the same reason-to celebrate the cinema industry, the moviegoing experience and the world of the movies. CinemaCon, apparently succeeded in providing the industry the opportunity to gather so as to learn and share ideas about the current and future state of the motion picture theatre industry. Whether one belonged to cinema exhibition, film distribution or production, or, in the equipment or concession fields, CinemaCon had something for them all. If someone is from the marketing, advertising or the burgeoning field of social media networking, CinemaCon had something from them all too. More, even if one were from the field of expertise- be in the design, construction or financing of movie theatres or the exciting world of digital cinema, CinemaCon offered an idea or two for each of the disciplines. Finally, if one is related to the motion picture theatre business in any remote fashion then there was something CinemaCon will have for them as well!

The four-day event was replete with studio presentations and screenings (showcasing exclusive footage for the cinema industry); sponsored food events and the most topical of seminars geared to all facets of the industry. CinemaCon also featured the largest theatre industry trade show - featuring the latest, most important and innovative technological advances in theatre equipment, and, the newest, most delectable offerings from the concession world-everything one needed to satisfy the demanding needs of today's sophisticated moviegoer. Coca-Cola Company hosted the Annual CinemaCon Big Screen Achievement Awards. One of the many highlights of the event was the International Day on day one, specially programmed keeping in view the increasingly dominant role being accounted for by international box office. While all the four days are marked by luncheons, and grand gala movie premieres, one that stood out was the one hosted by George Lucas. James Cameron followed that up next morning with the new coming era of movies. The event made one thing very loud and clear. Soon, all the movies would be made in 3D digital- making a morethan-emphasising case of vouching for all-digital and 3D digital cinema proliferation. The lobby of the Colosseum was transformed into a zoo for the screening of Kevin James' movie Zookeeper. Day three was marked by, besides many interesting tech sessions, the 2011 Pioneer of the Year Dinner with Tim

Allen as the Master of Ceremonies. It was soon followed by Sony's presentation of Wonderful Movies Ever Sold. Tradeshow: An indispensable rather the most critical aspect of the event, of course, was the tradeshow of cinema equipment. While it obviously had most participants from the Americas, it did have those from other regions of the world too. While it was also dominated by sound and projection majors - the obvious names including Christie, Barco, NEC-Strong, Sony, Kinoton, Cinemeccanica, Ernemann, Dolby, Datasat-DTS, QSC, Harman, USL, there was an overwhelming presence of a huge contingent from other aspects as well. Doremi, Qube, GDC, Smartjog, XDC, XpanD, Harkness, RealD, were just some of the many. Day Four, and the last day of CinemaCon began with a bang'James Cameron Talks Frame Rates: A Demonstration and Exclusive Look at the Future of Digital Cinema.' That the Avatar creator intends to shoot sequels of his magnum opus movie using a faster 48 or 60 frame rate as against the current 24 frame rate, the proposition incredibly expands the 'next level in digital revolution.' Towards testifying the experience, some test reels were in fact screened, and the impact was compelling. The event reached a crescendo with Awards Presentation Ceremony in the evening. The event was indeed a starstudded one, illuminated more by the aura of stars, than the glittering of lights, and the high-energy sound all around.

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FRAMES 2011 23-25 March 2011 Mumbai

FRAMES 2011 - the 12th edition of Asia's largest global convention on the business of entertainment - was held from 23-25 March at Hotel Renaissance in Mumbai. The FICCI(Federation of Indian Chambers of Commerce and Industry)-promoted event - held in the post-recession buoyant time more or less proved bigger than preceding editions with over 2000 Indian and 800 foreign delegates making up for different 'frames' of the three-day programming that sprung some incredible surprises. Themed on 'unlocking profitability for media and entertainment industry,' the event unfolded 'a vision for the next decade,' through two of the most prominent brand names in Indian media industryAroon Purie, Chairman and Editorin-Chief, India Today Group, and Dr. Prannoy Roy, Chairman and Wholetime Director NDTV. The programming obviously was laced with focused technical sessions on movies (both film and digital), broadcast, animation, gaming and visual effects through structured oneto-one business interactions, innovative workshops and masterclasses, knowledge forums, seminars, keynote addresses and more. Some of the highlights of the event included: Roundtable on European Film Financing & Co Production: A twohour in depth presentation, consultancy and analysis by Finance Consultant Juliane Schulze of Peacefulfish from Germany, the session brought detailed presentation on European markets. It sought to detail Treaties, EU Funding - national and regional - specialized fund and cash rebates etc. David Freeman Masterclass on Live Action Films & Animation: The session brought to the fore two very important phenomena of the


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domain- The Secret Behind Pixar's Magic, and The 6 Layers of a Great Film Character. While the first one unraveled the 11 techniques that make Pixar films successful, the second one presented precise techniques to make the animated movie characters unforgettable, realistic and emotionally layered .

lunch programming on Day One began with a session on 'Making Cinema With Global Appeal: A Session With Stalwarts.' It was followed by a technology keynote address before going to yet another cinematic session titled 'Digtial Cinema: The Way Ahead for Indian Box Office.'

FICCI - NASSCOM Game Developers Conference: A one-day conference on Game development included power packed CEO's panel discussion and sought to track tenets of game programming, design and the art that makes it all the more enterprising. While the technical sessions were also laced with a good number of keynote addresses by some of the most highprofile speakers, the event also brought some of the best known names in the industry to share their knowledge and solutions with the delegates.

Day Two too had two more sessions post-lunch relating to cinema and exhibition. First session focused on 3D content integrating movies, television and gaming, while the second dealt the debate on 'Market Research for Indian Cinema: Gut Feel vs Market Realities.'

Some of the speakers at the event included James Murdoch, Chairman and Chief Executuve-Europe and Asia, News Corp.; David Perlmutter, VicePresident and Co-General Manager at Intel Architecture Group; Mitch Singer, CTO at Sony Picture Entertainment, Taylor Hackford, President, Directors' Guild of America, Michael Fink Hollywood's famed VFX Director, and Daniel Aelgre, President-Japan and Asia-Pacific, Google Inc. Interestingly enough, unlike the previous editions of excessive dosage of television and overseas coproduction businesses and relegating filmy entertainment to non-priority area, FRAMES 2011 gave significant representation to movie industry and its exhibition component- thanks to the emergence of digital cinema and its ramifications all over the entertainment space. The event's recognition of the digital entertainment was evident in that it accorded the Day One deliberation space to the phenomenon, and more in the following days too. The post-

Day Three also had two sessions concerning cinema exhibition. The morning session was on 'Successful Film Content for the Future: The Rise of Debutants,' and the post-tea break session is on Cinema and the Digital Consumer. Canada Partner Country: FRAMES 2011 had one major and most vibrant entertainment industry stakeholder as its Partner Country this time. Canada which accounts for as much as 80 per cent of animation and special effects used in Hollywood, and it is third largest after USA and Japan in the gaming industry, has been accorded the Partner Country status with the FRAMES 2011. As Partner Country, Canada, with the support of the provinces of Ontario and British Columbia, and in collaboration with Export Development Canada (EDC) showcased their capabilities and attractiveness through the Canada country pavilion. While the country presented sizeable number of speakers at the event, the most prominent was the one by Side Effects Software CTO Dr. Paul Salvini. More, there was an Indo-Canada Student Innovation Award presented during the FICCI BAF Awards Ceremony.

PREVIEW Cinema India Expo, India's leading trade show and conference for digital cinema, will be held on 24 and 25 June, 2011 at the Renaissance Convention Centre Hotel, Powai, in Mumbai. Over the course of two days, the Cinema India conference will feature cinema and theatre technology, cinematography, Hollywood and Bollywood movie screenings, exhibition, content creation, and more. Internationally known creative and technical thought leaders will present case studies, lectures, and personal insights about creativity as well as execution and delivery of content. The extensive conference and education program will include Keynotes from Bollywood stars, world-class Cinematographers, visual effects artists, and filmmakers. Launched in 2001, Cinema India Expo is recognized as a premier event for the theatre owners and content holders. Cinema India Expo 2011 is a stand-alone conference-cumtradeshow for the digital cinema industry in India and worldwide providing an international platform for the cinematographers, directors, visual effects artists, and producers to learn about the trends and tools impacting the industry. With a global focus, Cinema India is the only industry event to spotlight the growing ties between Bollywood and Hollywood, and continues to deepen its footprint to match the rapid implementation of digital technologies amid the global creative environment.

24-25 June 2011 Mumbai latest information and products in front of key players of the industry. Createasphere, headquarted in Los Angeles, California, manages international sales and contributes to the programming of Cinema India Expo. Createasphere provides multitiered offerings to the entertainment technology sector including expos, events, professional educational sessions, and online content resource. Kristin Petrovich Kennedy, President, Createasphere notes, "the eyes of the world are on India at this moment. Bollywood's influence is growing and the digital transformation is in progress. There is unprecedented opportunity to put the most engaging speakers and information in front of an audience hungry for cutting edge knowledge. Today, India is the most exciting marketplace for digital cinema in the world and Cinema India is growing to meet the industry's needs." Scrabble Entertainment, India's first 2K DCI Compliant Cinema deployment entity, is the Presenting Sponsor of Cinema India Expo 2011. Scrabble Entertainment leads the 4K digital cinema deployment in India with Christie and a host of other leading technology suppliers. Scrabble will present the Scrabble Digital Initiative

to promote Digital Cinema and thus invite the Indian cinema exhibition industry to join the latest wave of 3D cinema. The 4K showcase will form an essential part of the Scrabble Digital Initiative. Ranjit Thakur, CEO, Scrabble Entertainment says, "it's great to see support from exhibitors and technology providers on the 4k platform. India will soon be at par with Global Exhibitors. The idea behind the Scrabble Digital Initiative is to champion the revolution of Digital Cinema in India." The conversion of the Indian cinema screens to digital technology is under way at a rapid pace, opening up a potential US$200 million equipment market in India, as per the findings of a market research conducted by Cinema India. A deployment of around 6000 e-cinema screens across India and around 700 DCI compliant projection (2K) cinema screens installation in India is expected by the end of 2011. Anil Chopra, Managing Director of Diversified Communications India Pvt. Ltd. states, "Cinema India Expo unfolds against of the backdrop of an industry in transition to digital in a highly competitive environment. In order to succeed in this dynamic time, multiplex companies and their leaders must have the latest industry trends and experience personally the future at Cinema India 2011."

The Cinema India trade show will showcase latest products across 3D Cinema and production technologies, digital cinema and projection booth equipment, lighting / signage / displays, distribution technology, audio and acoustics, digital cameras and workflow. The participants include a cross section of theatrical exhibitors, distributors, broadcasters, and others working in the business, engineering, and creative side of digital cinema. As the leading trade show and conference for the digital cinema industry, Cinema India Expo puts the

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Amidst these technological advancements, Cinema India will host a series of 4K demonstrations by leading market players. Texas Instruments is the Title Partner of Cinema India Expo. The TI DLP Cinema 4K chip powers all the leading cinema projectors offered by companies like Christie, Barco and NEC. Over 35,000 screens worldwide rely on TI's DLP Cinema technology. Some of the major manufacturers like Christie, Sony and Barco will highlight their innovations and technologies in 4K at the show floor of Cinema India. The show floor will be also be adorned with the Harman Pavilion displaying JBL cinema sound products and Crown amplifier systems in professional film production and cinema sound applications. Kodak India will host a two-day Cinematography Master Class conducted by Vilmos Zsigmond, one of the most celebrated cinematographers from the American Society of Cinematographers. His credits include Deliverance, McCabe and Mrs. Miller, The Black Dahlia, The Long Goodbye, The Deer Hunter, Close Encounters of the Third Kind (for which he won the Oscar). Zsigmond will explore the cinematographer's role in telling the story, the role of collaboration, how to understand how to put the right people and technologies in place to support the vision for the movie, and finishing the film in post production. Further, he will share his experiences, craft and artistry in a two-hour master class that takes participants behind the scenes to see how a number of compelling images and scenes were shot. Cinema India will host the THX Home Theatre 1 and Home Theatre 2 Master Class Certification during the two day conference session. The THX Certified Home Theater 1 Workshop will provide consumer electronics professionals with the knowledge and training to assist end users with the selection of home theater equipment,

basic system set up and calibration. The Home Theater 2 course will provide in-depth training on room acoustics and design, wall treatments and isolation, and AV hardware selection and placement. Top players of the digital cinema industry including UFO, Masterimage, Dolby, Qube, and Xpand will demonstrate their latest technologies and offerings in the Demo Suites spread across the venue. UFO Moviez will create the UFO 3D theatre to screen the latest 3D content during the course of the two-day conference and trade fair. K Sera Sera, the Gold Partner, will showcase their latest digital cinema technology in the Demo Suite. K Sera Sera is a major player in production & distribution of films in India. It has distributed over 100 films, produced some blockbusters and now diversifying its operations in other business areas like Exhibition, Interactive online Distance Learning programs, Mining & Natural Resources and E-Commerce. Cinema India will host conference sessions on key topics like Worldwide 3D Technologies & Opportunities, Hollywood in India, Survival of Single Screens in today's Multiplex Environment, and many more. In a nutshell, an outstanding line-up of speakers will address the attendees on the future of the digital cinema industry. Cinema India Expo is organized by Diversified Communications India, a subsidiary of Diversified Communications which is a global company with headquarters in the Eastern US and divisions in the Western US, Australia, Canada, Hong Kong and the United Kingdom. Diversified Business Communications, a division of Diversified Communications, brings buyers and sellers together through internationally acclaimed trade events, award-winning publications and eMedia.

PREVIEW Cinema Today 2011 - the fifth edition of Asia's biggest show for cinema exhibition entertainment workplace industry - will be held from 29-31 July at the Chennai Trade Centre, in Chennai. Being held in a buoyant atmosphere of surging business prospects, particularly in Southeast Asia, with several industry giants making rapid strides to grab the market space, the even this year promises to bring bigger participation and larger contingents from a wide spectrum of industry. The three-day event also includes three more concurrent tradeshows, viz, Broadcast Today, CGIVFX Today and Media Today.

this year's event is expected to have more numbers.

29-31 July 2011 Chennai For this year's show, while there will be exclusive pavilions focused on cinema exhibition business, also on demo would be the accessory entertainment segments like those from pro sound and light, and include players like Arri, Quantel, Sony, Kodak, Autodesk, Wacom, NVdia, Panasonic, Showtex ME, Sonodyne, Philips, Pope, Pro Musicals, and Crayz Lighting. More,

The previous edition of Cinema Today evoked good response from the industry and its professionals. While the exhibitor numbers were pretty impressive, it was more significant for the presence of some of the most popular brands from inside and outside the country. That cinema exhibition industry is very active and aggressive in South India, almost on par, if not more than Bollywood, with several players of competence and sophistication, the event is considered the most desired and viable platform to bring together the forces at play.

A peep into Cinema Today 2010


July-September 2011

The CGI-VFX seminar organised by Buysell Interactions in association with BCAS & Sniper evoked wonderful response and served as an excellent platform for knowledge and technology sharing. This year's event would lay special focus on digital revolution in filmmaking , 3D technologies, special effects makeup, advancements in animation and visual effects, live professional sound and light demonstrations.

PREVIEW CineEurope 2011 - the erstwhile CinemaExpo, Europe's most coveted platform of cinema exhibition - will be held at the Rai, Amsterdam, from 27-30 June, 2011. Coming as it does, as the official convention of the Union Internationale des Cinemas/ International Union of Cinemas (UNIC), the four-day event brings along with it a new branding, focus, and commitment to present the European theatrical industry important information on new technologies, trends in the industry, upcoming movies and speakers from the European Union. By doing so, the annual convention hopes to be able to broaden the scope of its programming and attract the widest possible range of European theatre owners and operators. The event's tech sessions, as per latest update, comprises • EDCF Seminar • VIP Cinemas - Lessons Learned • Challenges Facing the Industry How Consumers Want to See Movies and What Exhibitors Must Do to Stay Ahead • Cinema Retail - Seminar by Coco Cola • Cinema of the Future • Cinema Exhibition - The View From Outside Almost all the Hollywood majors would present their product reels as part of the convention. The screening of movies in 2k, 4k, 3D and Imax 3D include Horrible Bosses; Paramount's Transformers: Dark of the Moon in RealD 3D; Warner Bros.'s Harry Potter and the Deathly Hallows - Part 2 and Horrible Bosses; and Walt Disney's The Help. Tradeshow: The most vital aspect of the event - the tradeshow - promises to be bigger than ever in that it is approaching the industry with combined strengths of the event and UNIC which indeed had already built critical strengths into its happening. Going by default setting, the event would have most global majors with


July-September 2011

27-30 June 2011 Amsterdam high stakes in the European geography - such as Christie, Barco, NEC-Strong, Sony, Dolby, Datasat-DTS, RealD, Qube, Doremi, XpanD, Harman, QSC, USL, Jos-Schneider, Harkness,GoldenLink, Cretors - and those based out of Europe such as Kinoton, Cinemeccanica, Ernemann, Smartjog, XDC, Alcons, Cinema Seating,Preferred Popcorn, besides those from Asia such as GDC, Ushio, Ferco Seating et al. That some of the Asian majors have, of late, been seeking ambitious fortunes from the European markets, Cine Europe would get a significant numbers from that region as well. Overall, around 100 companies from across the wide spectrum of the industry are expected to showcase their latest content, products, services and technologies with a show floor that would be 15 per cent larger than 2010. Awards: Cine Europe, celebrating 20 years of the erstwhile CinemaExpo, seeks to get all that into its felicitation programming- which is why, it is

Floor Plan

honouring David Heyman, producer of the Harry Potter franchise as 'Producer of the Decade.' More, Moshe (Mooky) Greidinger, CEO of Cinema City International - the most vibrant cinema chain in Central and Eastern Europe - would be conferred upon the International Exhibitor of the Year Award- a mark of new recognition for the region hitherto considered given back seat. On the other hand, two top executives of Warner Bros. Pictures International Nancy Carson, Executive VicePresident, Distribution, and Tom Molter, Senior Vice-PresidentInternational Distribution - would be conferred upon the International Distributors of the Year Award jointly. Another highlight of the Awards programme this year would be the presentation of Award of Excellence for Contribution to European Cinema to José Antonio Domínguez Bandera - the popular Spanish movie legend, commonly known as Antonio Banderas - for his remarkable contribution to the cause of European cinema.


A Truly Cinepolis It's coming together of two distinctly unique phenomena: An emerging metropolis as well as a 'cinepolis.' Bengaluru - fondly called as Garden City on one hand, owing to its picturesque beauty, and boastfully referred to as Silicon Capital of India, owing to its IT prowess - is also fast emerging as city of big multiplexes. Cinepolis, an established player of repute in the international circuit, chose the city for its first ambitious statement in the country. A fusion cinema dynamics and unison of unique propositions is expressed in an exquisite fashion. Result- coming to the fore of a distinct multiplex with all the trappings of a modern multiplex and the brand identity of a truly international cinema. An all-digital multiplex, including 3D digital experience, the new eight-screen cinema, created as part of a massively spread entertainment destination, has elevated the movie watching experience in town to new highs and set a new benchmark. Entertain World, this time presents pictorial fiesta of Cinepolis Bengaluru. Feast your eyes and experience the thrills. July-September 2011


entertainworld Cinepolis, Bengaluru

2k-digital cinema, the first of its

The Meenakshi Mall on the

kind in town, with two screens

Bannerughatta Road in

done in 3D digital. It's second

Bengaluru has suddenly added a

largest multiplex in town after

new exalted address to the

PVR's 11-screen cinema in Forum

entertainment identity of the

Mall. One of its screens is 'Macro

city- courtesy. Cinepolis India.

Screen,' made special by its

The Indian arm of Mexican

sheer size and appeal. The

cinema giant Cinepolis - the first

cinema also brings to place a

international cinema operator to

characteristically branded concessions fare called Coffee Tree with a unique mix of eateries and beverages to satisfy a diverse palate. One of the most striking elements in the multiplex is its space and amount of natural light that flows into the ambience- a rarity for cinemas these days. The circular architecture of the mall pleasantly contributing the distinct appeal of the ambience, the entrance, the Coffee Tree

seek direct fortunes in the country - when it opened its second cinema venue, but first ambitious venture, in Bengaluru, it made its statement loud and clear. Offering cinematic experience with a brand equity. The eight-screen cinema it launched as part of the massive Meenakshi Mall is unique in ways more than one. It's an all-


July-September 2011

entertainworld with both 2K and 3D digital systems. All the auditoria feature an identical design of interiors, more or less posing a signature ambience. Done in dark navy blue fabric-covered interiors both for the walls and floor, and seating, the ambience provides a pleasing cinematic setting. The digital projection systems are by Barco while the server solutions are provided by Qube Cinema. The projection systems concessions, and the seating areas along the corridors all bear an eye-pleasing and a carefully crafted privacy ambience. Facing the Coffee Tree area is the box office counter. Making the ticketing process more customer-friendly are a total of four kiosks two located in the ground floor and two in the mall. Proceeding to the lobby, one is greeted into a very spacious

ambience of cinematic attractions - some of currently running movie while others are coming attractions. Adding local glamour and flavor on one side of the lobby is a collage of portraits with Southern movie legends such as Raj Kumar, Ambarish, Vishnuvardhan, Kamal Haasan, Rajnikant, and Chiranjeevi. Getting to the cinema area, one is taken by the Macro Screen impact at Screen-1. Largest among all the audi is equipped

July-September 2011



also feature a Christie 35mm

and did not want to sport any

recall and Bengaluru venue is

film projection system too, to be

special features like most others

just the same as the brand is

able to screen movies that are

just to woo them and do not


released on film.

deliver," elaborates Satish,

The sound systems are QSC and Dolby Digital while the screen is from Harkness. The design, interiors and concessions are all done inhouse, explains Satish the facility manager. "The very name Cinepolis providing the biggest brand equity, we do not


July-September 2011

"Cinepolis lives by its brand

The impact is already seen, he vouches.



A glimpse of movies coming to Asia this autumn or later‌ Larry Crowne

Zookeeper Production Universal Pictures

Production Columbia Pictures

Director Tom Hanks

Director Frank Coraci

Starring Tom Hanks, Julia Roberts,

Starring Kevin James, Rosario Dawson

Genre Comedy, Drama

Genre Comedy

Harry Potter and the Deathly Hallows: Part 2

Monte Carlo Production 20th Century Fox

Production Warner Bros.

Director Tom Bezucha

Director David Yates

Starring Selena Gomez, Leighton Meester

Starring Daniel Radcliffe, Rupert Grint

Genre Comedy, Romance

Genre Adventure, Fantasy

Horrible Bosses

Winnie the Pooh

Production New Line Cinema

Production Walt Disney

Director Seth Gordon

Director Stephen J Anderson

Starring Jason Bateman, Charlie Day

Starring Jim Cummings, Craig Ferguson

Genre Comedy

Genre Animation

July-September 2011


F U T U R E Captain America: The First Avenger

Production The Weinstein

Director Joe Johnston

Director Abe Sylvia

Starring Chris Evans, Hayley Atwell

Starring Juno Temple, Jeremy Dozier

Genre Action, Adventure

Genre Comedy

Rise of the Planet of the Apes

Production Universal Pictures

Production 20th Century Fox

Director Jon Favreau

Director Rupert Wyatt

Starring Daniel Craig, Harrison Ford

Starring James Franco, Freida Pinto

Genre Action, Thriller

Genre Action, Adventure

30 Minutes or Less

The Smurfs Production Columbia Pictures

Production Columbia Pictures

Director Raja Gosnell

Director Ruben Fleischer

Starring Neil Patrick Harris, Jayma Mays

Starring Jesse Eisenberg, Danny McBride

Genre Comedy, Family

Genre Action, Comedy

Final Destination 5

The Change-Up

July-September 2011

Dirty Girl

Production Paramount Pictures

Cowboys & Aliens



Production Universal Pictures

Production New Line Cinema

Director David Dobkin

Director Steven Quale

Starring Ryan Reynolds, Jason Bateman

Starring Nicholas D’Agosto, Emma Bell

Genre Comedy

Genre Horror


R E L E A S E S Spy Kids: All the Time in the World

The Help Production Walt Disney

Production Dimension Films

Director Tate Taylor

Director Robert Rodriguez

Starring Jessica Chastain, Viola Davis

Starring Jessica Alba, Jeremy Piven

Genre Drama

Genre Action, Adventure

Conan the Barbarian

Don’t Be Afraid of the Dark

Production Lionsgate

Production FilmDistrict

Director Marcus Nispel

Director Troy Nixey

Starring Jason Momoa, Rachel Nichols

Starring Katie Holmes, Guy Pearce

Genre Action, Adventure

Genre Horror

Fright Night

Our Idiot Brother Production DreamWorks

Production The Weinstein

Director Craig Gillespie

Director Jesse Peretz

Starring Anton Yelchin, Colin Farrell

Starring Paul Rudd, Elizabeth Banks

Genre Horror

Genre Comedy

Shark Night 3D

One Day Production Focus Features

Production Relativity Media

Director Lone Scherfig

Director David R. Ellis

Starring Anne Hathaway, Jim Sturgess

Starring Sara Paxton, Dustin Milligan

Genre Romance

Genre Horror, Thriller

July-September 2011




Dolphin Tale Production Warner Bros.

Production Prakash Jha

Director Charles Martin

Director Prakash Jha

Starring Morgan Freeman, Harry Connick Jr.

Starring Amitabh Bachchan, Saif Ali Khan

Genre Adventure, Family

Genre Social

What’s Your Number?

Production Reliance

Director Mark Mylod

Director Indra Kumar

Starring Anna Faris, Chris Evans

Starring Sanjay Dutt, Arshad Warsi

Genre Comedy, Romance

Genre Comedy

Murder 2 Production The Weinstein

Production Vishesh Films

Director Gonzalo LopezGallego

Director Mohit Suri

Starring Paul Rudd

Starring Emraan Hashmi, Jacqueline Fernandez

Genre Sci-Fi, Thriller

Genre Thriller

Mere Brother Ki Dulhan


July-September 2011

Double Dhamaal

Production 20th Century Fox

Apollo 18



Production Lionsgate

Production Yash Raj Films

Director John Singleton

Director Ali Abbas Zafar

Starring Taylor Lautner, Lily Collins

Starring Imran Khan, Katrina Kaif

Genre Action, Thriller

Genre Romance



Delhi Belly

Bbuddah...Hoga Terra Baap Production A B Corp

Production Aamir Khan

Director Poori Jagannath

Director Abhinay Deo

Starring Amitabh Bachchan, Raveena Tandon

Starring Imran Khan, Poorna Jagannathan

Genre Action

Genre Comedy



Production Eros International

Production Reliance

Director Pankaj Kapoor

Director Rohit Shetty

Starring Shahid Kapoor, Sonam Kapoor

Starring Ajay Devgn, Kajal Aggarwal

Genre Romance

Genre Action


Page no.




Amar AV





Walls & Ceilings




Christie Digital



Cinema India



Cinema Today





Audio Processor



Digital Cinema



Digital Cinema







HiTech Audio



MRH Digital





Projection Lamps

R&S India





Digital Cinema

Shri Krishnashray TM-23








The next issue of TheatreWorld is our Autumn Special. It will be promoted at ShowEast - USA The last date for advertising orders is 20 August 2011. Email

July-September 2011


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TheatreWorld ::: July - September 2011  
TheatreWorld ::: July - September 2011