150 (US$ 15)
MINDSHARE THEATREWORLD EDITORIAL
We at Network208 thank Mr. Sandeep Mittal
Issue # 64 July-August 2014
and Mrs. Bindu Mittal for entrusting us with the 'TheatreWorld' brand, founded by Mr. Sandeep Mittal at Sandy Media. Our dedicated team at Network208 assures quality content for its readers and better visibility to the advertisers through its innovation in editorial, marketing and circulation. Technology is changing at a rapid pace. The laser projectors are now commercially available, unleashing the potential of 4K projectors. At CineEurope 2014 all the major projector manufacturers displayed their latest laser projectors and surprised the exhibitors. Immersive Sound seems to be all the rage this season and we have a spread of some of the newest in the market. Dolby Atmos installation is moving too big across the world and it's been followed by Barco Auro 3D and Christie Vive. Indian cinema exhibitors are waiting for the blockbuster of the year, just as Salman Khan’s Kick is on the way to making the ‘big bang effect’ at the boxoffice . Can the single-screen survive one Kick or does it need more? Well, the single-screen does need much more top such hero blockbusters. The top-rated heroes seem to be content with one movie release every year (and at times none). It's fixed Salman's release on Eid, Shahrukh’s on Diwali and Aamir’s in December. Can single-screens survive on just three blockbusters in a year? Thankfully regional movies help bring in some very neat content in some part of the country. Let's wait for Kick to kick- start the momentum. Another edition of KinoExpo is about to begin in Russia and TheatreWorld is the official media partner. KinoExpo focuses on Russia and neighboring CIS (former USSR) countries market.
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RNI # KARENG02795/10/1/2002-TC TheatreWorld is a bi-monthly publication, on the motion picture exhibition industry, for private circulation. It reaches out to subscribers, mainly theatre owners and trade professionals around the world. Additional copies are being promoted at major international industry tradeshows. TheatreWorld 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. TheatreWorld 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 TheatreWorld. TheatreWorld is a trademark under registration. The contents of TheatreWorld 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. TheatreWorld does not take responsibility for the absolute accuracy of information published.
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-20 for TM. TM is inserted between pages TW-46 and TW-47 of TW.
6P Laser Projection:
Redefining 3D Cinema TW-34
The Never-Ending Trend of
World's First 4K Live Event
BUSINESS TREND TW-36
New Way of Marketing!
TRADESHOWS TW-43 Preview -
TW-45 Review -
ENTERTAIN WORLD TW-47
The Nightlight TW-53
U T U R E
R E L E A S E S
SPECIAL FEATURE TM-10 Making Bigger Plans to be Bright!
BUSINESS TREND TM-17 Experiential Marketing 2.0
The Roadshow Continues…
Christie 4K at the 17th Shanghai International Film Festival The 17th Shanghai International Film Festival (SIFF) kicked off on a high note with Christie, a global leader in digital cinema projection, deploying its 4K digital cinema projector to screen the opening film of this prestigious event on June 14, 2014. Christie is also the exclusive digital projection partner for the SIFF for the sixth consecutive year. The 17th SIFF, which took place from June 14 -22, 2014, is China's only non-specialised competitive international film festival accredited by the Paris-based Fédération Internationale des Associations de Producteurs de Films (FIAPF). The festival opened in style with the screening of the classic Chinese film Stage Sisters, which has been fully restored using 4K full-colour technology. Directed by the late Chinese director Xie Jin and first released in 1964, the 50-year-old film is now widely regarded as Xie's masterpiece. Stage Sisters is also the first full colour feature film to be restored in 4K by the SIFF using the latest restoration technologies at Italy's L'Immagine Ritrovata film restoration laboratory. The screening of this film at SIFF also marked its worldwide debut in full 4K glory. The results of the 4K restoration are obvious when the film is played on the big screen using the Christie Solaria CP4230 DLP Digital Cinema
Projector. Not only can the audience enjoy significantly improved images, they can also appreciate finer details which are not visible previously. Simply put, the film looks absolutely stunning after the meticulous restoration process by L'Immagine Ritrovata. The Christie Solaria Series is the only 4K DLP solution able to provide the world's most brilliant images, the highest level of content security, the easiest adaptability, operation and maintenance. Fully DCI compliant, and built on Christie's extensive cinema experience, the Christie Solaria Series is ready for the next evolution of digital cinema; capable of displaying premium 4K content or 2D/3D 2K High Frame Rate (HFR) feature films and alternative content in its original format. In conjunction with this spectacular opening, Christie officially launched the world's first commercial laser projection system at the Shanghai Film Art Center on June 13. On this occasion, Christie demonstrated the advantage of laser projection vis-à-vis conventional projection systems, and conducted a special screening of the Hollywood film, Godzilla. SIFF's designated cinemas such as Shanghai Cineplex and Da Guang Ming Cineplex also featured the festival's movie lineup using Christie's Solaria series of 2K and 4K digital cinema projectors.
Lin Yu, vice president, Christie Asia Pacific, said, "As the hub of Chinese film art, Shanghai is the place where many dreams become reality on the screen. As the barometer of China's movie industry, the SIFF gathers the best film professionals around the world for this annual event. Christie, as a world leader in digital cinema projectors, is honored to be associated with the festival. We're very happy and honored that the Christie Solaria CP4230 digital cinema projector is deployed to screen the fully restored version of the late Chinese director Xie Jin's masterpiece Stage Sisters in its 4K glory."
Arcoplex Brazil Selects Doremi for 61 Screen VPF Rollout The largest exhibitor in southern Brazil, Arcoplex, with over 50 years in the market, has begun the process of digitalization by selecting the world leader in digital cinema to provide the technology. In a major move forward, 61 of its screens will be upgraded to the highest quality equipment available on the market – the IMS1000 and IMB/ShowVault. A solid contractual agreement has been formed between all parties involved, with Quanta DGT | AAM as the VPF integrator and Arcoplex’s technical team performing the installation and maintenance. Doremi has gained momentum in the Brazilian market in the last 8 months, with now over 1,000 screens deployed in country. The company’s reputation for outstanding reliability, ease of use and broad feature set continues to expand just as it has in every other area of the world.
Everland Chooses Christie for the Renewal of its Space Tour 4D Theater Christie, the world's dominant brand in the digital cinema projection market, announced the installation of a Christie Solaria CP2230 DLP digital cinema projector for the Space Tour 4D Theater at South Korea's largest theme park, Everland, to provide the best possible visual experience for its visitors. The installation of the Christie Solaria CP2230 digital cinema projector by Christie and its Korean partner Eugenetek Corporation is part of the renewal process for the immensely popular Space Tour 4D Theater, which transports visitors to an exciting virtual world where they experience realistic 3D images, dynamic motion seats and special effects such as strong winds as they explore the space frontier and enjoy vivid adventures in a totally immersive environment. The upgraded Space Tour 4D Theater officially reopened on 25 April 2014. Everland chose Christie for its high quality, reliability that is backed by industry-leading service and support. At over 33,000 lumens, the Christie Solaria CP2230 is suitable for large screen theatres, post-production houses, multi-media theatrical productions and the most demanding 3D installations. With a unique optics design and superior image processing, it delivers crisp, clean images with perfect color saturation and spectacular video. The Christie Solaria CP2230's ingenious split body design also enables it to be installed on a variety of rack stands and universal pedestals, allowing an easy fit even in the most difficult environments. "We're excited to install the Christie Solaria CP2230 projector in our Space Tour 4D Theater to offer the highest quality visuals and immersive 4D experience to all our guests," said Hyunjoo Won, Resort Planning & Development, Everland. "I'm also grateful to the team from Christie and Eugenetek for their help, support and professional teamwork
in completing the installation and allowing us to open this attraction on schedule to great enthusiasm and response from our visitors." Besides the Space Tour 4D Theater, Everland also uses Christie's cutting edge visual solutions for its other attractions. The Pororo 3D Adventure, a fun-filled 3D theater performance starring the adorable TV character, deploys two Christie Solaria CP2230 projectors to display vivid 3D imagery and lively performances, making it a hit with both parents and children alike. Another popular attraction, named K-POP Hologram, combines technology and K-POP cultural contents to enable visitors to "meet" their favorite Korean pop stars in an entirely new medium through threedimensional hologram made possible with two Christie Roadster WU20K-J 3chip DLP projectors and five Christie DWU670-E 1-chip DLP projectors. Henry Khang, general manager of Christie Korea, commented, "We are very pleased to work with Everland once again on the installation of the Christie Solaria CP2230 projector to provide visitors from Korea and overseas with the best and most memorable visual experience at the Space Tour 4D Theater. It is heartening to know that our customers recognize that our projectors, in addition to having exceptional image quality, offer the best light efficiency, the lowest operating costs and upgradability both now and in the future."
IMAX and SterKinekor Expand Partnership with a 2 Theatre Deal IMAX Corporation and Ster-Kinekor Theatres, a division of Primedia (Pty) Ltd., announced an agreement for two further IMAX theatres. The first IMAX theatre will be added to the exhibitor's upcoming multiplex at The Grove Mall in Pretoria East, with a second to be added to another new multiplex at the Eastgate Shopping Centre in Johannesburg in the second half of 2015. The deal brings Ster-Kinekor's IMAX commitment to three theatres. "This agreement is a direct result of the success of our first IMAX theatre in Durban, which has been tremendously popular with our patrons and has strengthened the overall performance of our multiplex," said Fiaz Mahomed, CEO, Ster-Kinekor. "IMAX helps us deliver on our commitment to offer our guests a premium entertainment experience and we are proud to bring more movie-goers in South Africa the biggest event films in the world's most immersive format." "Given the box office success of the first IMAX theatre in Durban, we are very pleased to see Ster- Kinekor commit to two additional locations in South Africa just nine months after their first opening," said Andrew Cripps, President of IMAX EMEA. "South Africa was one of a number of new countries that we entered in 2013, which also included Germany, Switzerland, and Portugal, and it is clear there is a growing appetite for IMAX in the market. We look forward to working with Ster-Kinekor to help build the IMAX brand throughout the country." As the market leader, Ster-Kinekor aims to spearhead the advancement of cinema across both South Africa and the rest of Africa, to ensure that consumers continue to experience movies as they were made to be seen - on the big screen.
World's First Premium Museum-Based 4K 3D Giant Screen 6P Laser Projection System Christie and D3D Cinema announced that the world's first museum-based 4K 3D giant screen 6P laser projection system will be installed and premiering at Moody Gardens MG3D Cinema in Q4 2014. The system design and configuration will further distinguish the Moody Gardens MG3D Theater as one of the world's most premier cinema venues. "This is the game-changing milestone that the museum giant screen industry has longed to achieve for many years," said Don Kempf, president and founder of D3D Cinema. "Moody Gardens' audiences will be the first in the world to have a 6P giant screen laser experience, unarguably the future of cinema presentation. The DCI and DIGSScompliant Christie laser solution, coupled with 6P glasses technology, will be unparalleled in terms of image quality. D3D has always been committed to designing first-rate giant screen solutions that are built on a more economically viable business model. It's a great thrill to be able to achieve this goal and be first to market with such a premium solution." John Zendt, CEO of Moody Gardens agrees. "D3D Cinema has proven time and again that they can deliver the goods first, better and more efficiently. We thoroughly researched all known laser options and the D3D/ Christie solution beats the competition across the board including, significantly, the price. We'll own this laser system outright, which is important to us, saving significant operating dollars over the life of the laser modules. We're really proud to have our theatre represented as a pioneer in digital cinema and invite all museum executives to visit for a demonstration." The upgrade will replace Moody Gardens' existing 4K xenon system with a state-of-the-art pair of Christie 4K laser projection heads, a 6P
recently published by D3D & Moody Gardens illustrating the financial benefits and qualitative success of digital presentation and rebranding.
modular laser light farm with fibre optic delivery, Christie 4K 3D highbitrate server, new giant screen 6P laser glasses, and a new premium white screen. "Our 6P laser design is a huge step forward for the industry," said Don Shaw, senior director, Entertainment Solutions, Christie. "This particular system is designed to achieve up to 14-foot lamberts onscreen in 3D, far exceeding any 'ultra-bright' industry standards. Our non-flashing 6P architecture is by far the most light-efficient 3D technology on the market, providing incredible brightness, enhanced colour gamut and a remarkable contrast ratio. On a speckle-free premium white screen, Moody Gardens will deliver a peerless cinematic presentation to their audience. It's a real feather in our cap to have Moody Gardens as a flagship theatre." This latest collaboration between D3D and Moody Gardens builds on a longstanding partnership. In January 2011, D3D and Moody co-hosted the first annual Digital Cinema Symposium, showcasing 4K projection technology on a giant screen for the first time, including the first 4K vs. 70mm split screen shootout. The following year, at the 2012 Digital Cinema Symposium, D3D showcased the first 4K 3D demonstration, 11.1 3D audio, high frame rate 3D as well as a prototype laser on a giant screen, all industry firsts. The 2012 event was a milestone, marking the first time that industry professionals overwhelmingly acknowledged a digital presentation exceeded the quality of a 70mm film in a side-byside comparison. A case study was
Moody Gardens' marks the first giant screen laser deal of many for D3D and Christie. "Lasers raise the bar," adds Kempf. "After Moody Gardens, our first laser dome system is around the corner, which will save our dome clients hundreds of thousands in operating costs per year. The giant screen industry is about to look quite a bit brighter!"
UK Independent Strikes Sony Deal to Complete 4K Installation
'We believe in creating a truly unique and memorable cinema experience that revolves around not just the film itself, but the whole experience we give our customer.' - Andrew Myers, CEO, Everyman Cinemas Advanced cinematic technologies such as 4K are often associated with large multiplex networks, for whom a big-screen spectacle is a key selling proposition. However, independents like Everyman Cinemas in the UK are increasingly turning on to the accessibility of Sony 4K as a way to offer greater levels of service and choice to their customers - while future-proofing their business for years to come.
Wintex Brasil in Partnership with GDC VPF Program Wintex Brasil, a Brazilian company and registered integrator of ANCINE, announced a partnership with GDC Digital Cinema Network Brazil ("GDC DCN Brazil"). The new integrator will offer Brazilian exhibitors a complete proposal for digitalization, including the management of VPF and financing through a FSA line of credit operated by BNDES. Bridge loans are already approved along with main global suppliers, ensuring that the importation and installation process will take place as quickly as possible. Headquartered in Maringá, Wintex is a company owned by Cinepar SA ("Cinepar") and Cinema Equipment South America ("CE+S"). "We are proud to be the exclusive partner of Wintex in Brazil", said Dr. Man-Nang Chong, founder and CEO of GDC Technology. "GDC has more than 6 years of VPF experience and has approximately 700 VPF agreements with worldwide
content distributors and exhibitors. Under these agreements, we manage close to 5,000 screens in Asia Pacific, North America and Latin America. With in-depth knowledge of the industry, we understand the needs of the local independent exhibitors and are always committed to providing them with the model which best suits their needs".
Strong-MDI Signs Multi-Year Supply Agreement with Cinépolis Strong-MDI, a Ballantyne Strong, Inc. company, announced the signing of a two-year exclusive supply agreement with Cinépolis, the fourth largest chain of movie theatres in the world with more than 3,000 screens in 11 countries. Pursuant to the agreement, Strong-MDI will supply screens for all installations in Cinépolis theatres throughout the Americas over the next two years. After having supplied screens to
Cinépolis for several years, the new contract represents the first exclusive supply agreement between the two companies, covering the full breadth of screen products from Strong-MDI. "Strong-MDI delivers consistently high quality screens with exceptional performance to our theatres," said Alejandro Tejado, Purchasing and Supply Chain Director for Cinépolis. "MDI couples its expertise and innovation in screen technology with exceptional delivery and support to assure our success as we incorporate their products into our theatres. Strong has a solid reputation for delivering quality product on time anywhere in the world." "We are honored to have been selected as the exclusive supplier to Cinépolis and complement their beautiful state-of-the-art theatres throughout the Americas," said Chris Stark, Senior VP and COO of Ballantyne Strong. "The combination of Strong-MDI's high performance screens with the innovative entertainment experience of Cinépolis theatres is a winning combination."
Barco Brings on Laser Illumination Pioneer Bill Beck to Further Strengthen its Market Leadership Position
2010 to 2013, this is an extraordinary standard matched by no other cinema technology company in the world.
As the worldwide market share leader in digital cinema projection, Barco continues to make bold strides forward in the development and deployment of its laser projection technologies worldwide, with dozens of installations committed for 2014. As it embarks upon its next phase of commercial sales and laser market development, Barco has engaged Bill Beck to work closely with its Sales and R&D teams to further expand its reach into global markets.
Wanda Cinema Line - the largest cinema operator in China - continues to see outstanding performance as it leverages a comprehensive set of cinema technologies provided by industry-leader Doremi Labs. Since 2010, Wanda Cinema Line has utilised Doremi's IMB/ShowVault and DCP-2K4 digital cinema servers to supplement their rapid expansion. In May 2012, Wanda Group acquired the U.S.-based AMC Theaters, propelling them to become the globe's biggest cinema enterprise.
"Bill was one of the first to recognize the potential of laser illumination for premium digital cinema. We simply call him 'The Laser Guy'," comments Todd Hoddick, Vice President of Global Entertainment for Barco. "For more than 10 years, he has been on the leading edge of laser technology and focused his efforts on the image quality and operating benefits of laser illumination for cinema exhibition and other highperformance projection applications.
Bringing extensive expertise to the Barco team Beck will work closely with Barco to further advance its leadership in laser-illuminated projection. As a photonics entrepreneur for more than three decades, and co-founder and former chairman of the Laser Illuminated Projector Association (LIPA), Bill brings in-depth knowledge of laser technology and the specific requirements for its application.
Extending Barco's market and technology leadership "Since its first demos in 2012, Barco has been the frontrunner in laser projection, establishing an early lead in laser illumination technology," comments Beck. "I'm excited about the opportunity to contribute my expertise toward evolving Barco's laser technology to the next stage, while helping to strengthen its sales and marketing infrastructure to support further growth. Our new collaboration reflects a shared vision focused on achieving not only the best image quality, but also a commercially attractive laser
projector that ensures safety, reliability, energy efficiency and a long lifetime. Their diligence in all of these areas is why I joined the Barco team."
Leveraging the long-term potential of laser "High-brightness laser projection is still in its early stages," continued Beck. "By collaborating with Barco's R&D team, I will help the company leverage the long-term potential of laser technology, which offers dramatically reduced operating and maintenance costs, as well as lower power consumption, as the technology matures. But most of all, I am excited about the opportunity to play a pivotal role in developing the future products and applications that laser technology will enable."
Wanda Cinema Line Runs 700 Doremi Servers In the three years that Doremi has partnered with Wanda Cinema Line, its servers have delivered unparalleled performance by producing an uptime of 99.99%. Measured across 700 screens from
"Wanda Cinema Line is very serious on the quality of movie presentation. Doremi's outstanding performance has been proven over the years as their server technology is the most reliable in our cinema line. We are very pleased with our partnership and look forward to our future collaboration" stated technical leader of Wanda Cinema Line. "With Wanda Cinema Line's reach and Doremi's superior technology, there are no limits to what we can achieve together on the cinema marketplace," said Michael Archer, Vice President of Digital Cinema, Doremi. "Wanda Cinema Line represents the next generation of cinema, and we are happy to continue supplying them with our cutting-edge technology." Doremi, with its comprehensive product line and reputation for high performance, continues to gain momentum in Asia by improving its local after-sales service, response times and parts replacements.
Evergrande Deploys 500 Barco Digital Projectors in New Cinema Complexes Evergrande is a wholly-owned subsidiary of Evergrande Real Estate Group specialised in cinema investment, operation, and management. Relying on the Group's commercial and residential developments and urban complex projects, the company is constructing first-class, fully digital cinema complexes across 22 provinces, autonomous regions and directcontrolled municipalities in China. Five theaters have already gone into service. Evergrande Cinema Line plans to build another 30 theatres with more than 210 screens in 2014, toward a total of more than 150 theatres and 1,100 screens by the end of 2016. Evergrande Cinema Line, regarded as a dynamic driving force in the Chinese cinema market, is committed to becoming China's leading cinema line by providing a popular filmviewing platform for the public based on an operational strategy of high quality, human-oriented service, and a modest ticket price. To create a premium moviegoing experience for its audiences, Evergrande will deploy Barco's projectors in all its theatres.
A solution for every screen Each of the 77 planned cinema complexes contains one large-screen, two medium-screen, and four smallscreen theatres. Thanks to its wide range of digital cinema projectors, Barco has a high-quality projection solution to fit every screen. For the large screens, Evergrande is opting for Barco's ultra-bright DP2K-32B DLP cinema projectors. The small screens, on the other hand, will be equipped with compact and budget-friendly DP2K-20 projectors. Through these choices, Evergrande guarantees impeccable image quality across all its different screens and theatres. "We are aligning the national deployment of our theatres with the Group's commercial developments," says Guangwei Li, the head of
complex on a commercial estate by the end of 2014. In line with its ambition to deliver the best possible moviegoing experience, the cinema chain is exploring the installation of Barco's 4K laser projector.
IMAX Signs Agreement with Cavea Cinema Georgia
Evergrande Cinema Line. "Highquality, reliable projection systems are absolutely necessary to achieve the project's objectives. Our provider's diversified product offerings, outstanding performance, and strong service team have laid a solid foundation for deployment, while helping us create a striking cinema experience for the audience." Chen Xuxiang, CFG-Barco (Beijing) Electronics Co., Ltd.'s general manager, is enthusiastic about the project. "Evergrande Real Estate Group's expansion into the cinema business will be a major driving force in China's cinema market, playing a significant role in the integration of theatres with housing developments. We are very glad to be part of this project and greatly appreciate Evergrande's trust and recognition. We believe that our versatile projection solutions and reputable service system make us a highly reliable partner for our customers."
Further collaboration In line with its successful endeavors on the real estate market, Evergrande has even more in store for its new cinema line. To ensure the worry-free performance of its digital cinema network, the company will rely on Barco's renowned Network Operations Center (NOC) services, which will enable Evergrande to manage and monitor all equipment remotely. In addition, Evergrande will be opening its first major cinema
At the 2014 CineEurope Conference, IMAX Corporation and Cavea Cinemas, the fastest-growing cinema chain in South Caucasus, announced an agreement to install an IMAX theatre at the exhibitor's new ten-screen multiplex - the largest in the region - located at the Eastpoint Shopping Mall in Tbilisi. The deal marks IMAX's first entry into Georgia. "We are proud to be the first to bring The IMAX Experience to audiences in Tbilisi and launch a new era of immersive moviegoing in the country," said Beso Abesadze, CEO, Cavea Cinemas. "IMAX is known worldwide as the best way to experience blockbuster films and we believe the addition of an IMAX theatre to our flagship complex will be a tremendous success with our guests." "We are excited to partner with a top-notch exhibitor such as Cavea Cinemas to introduce IMAX to audiences in Georgia and look forward to working together to expand our presence in this new market," said Andrew Cripps, President, IMAX EMEA. "Today's agreement marks the sixth new territory we've entered in 2014 and represents the 13th country in the EMEA region to have added an IMAX theatre this year. Our partnership with Cavea Cinemas builds on this momentum and furthers our efforts in expanding the IMAX network into new markets with leading exhibitor partners who share our commitment to quality and providing audiences the world's most immersive entertainment experience."
Harman Completes Acquisition of AMX Harman International Industries, Incorporated, the premier infotment and audio group, announced the successful completion of its acquisition of AMX LLC, from The Duchossois Group, Inc. for $365 million. Richardson, Texas-based AMX is the leading provider of enterprise control and automation systems as well as audio/video switching and distributing solutions and will be integrated into Harman's professional offerings servicing audio, video and IT professionals. "The addition of AMX to our family of brands is consistent with Harman's strategy to diversify our portfolio, including technologies that further the integration and automation of audio, video, and lighting products into comprehensive system solutions ," said Dinesh C. Paliwal, Chairman, President and CEO of Harman. "Today's acquisition will extend Harman's service of the enterprise where our strength in audio, lighting and control will serve as a platform for integration, innovation and growth." Founded in 1982, AMX's hardware and proprietary software solutions simplify the way people interact with technology and are implemented worldwide throughout a variety of enterprises and venues such as conference rooms, hotels, classrooms, network operation / command centers, entertainment venues and broadcast facilities. AMX employs more than 600 people across its operations in 19 locations worldwide. "From the addition of Martin lighting and Duran Audio in 2013 to the completion of the AMX acquisition today, Harman Professional is aggressively pursuing opportunities to provide customers and partners with systems solutions that advance the integration and application of AV technology in the enterprise," said Blake Augsburger, President, Harman Professional
division. "The completion of this acquisition expands Harman's preeminent role on stage and in the studio to the enterprise as a leading supplier of turnkey AV solutions "
Village Cinemas Brings Immersive Dolby Atmos Dolby and Village Cinemas announced that Village Cinemas, one of the leading multiplex operators in Australia, has installed Dolby Atmos technology at two of the VMAX cinema auditoriums at Crown Casino, Melbourne. Invited guests will be among the first to experience the cutting-edge sound technology at the iconic VMAX cinema auditoriums at a special preview screening of Edge of Tomorrow, the new epic action film from Warner Bros. Pictures and Village Roadshow Pictures, which opened in Australia on 5 June 2014. Dolby Atmos unleashes the potential of sound in storytelling by giving filmmakers the creative freedom to easily place or move sounds anywhere in the movie theatre to create a lifelike, virtual reality of sound and create an unmatched cinema experience. Dolby Atmos has quickly become the preferred choice for next-generation cinema sound among major studios, awardwinning filmmakers, and exhibitors around the world. "Dolby looks forward to working with Village Cinemas to bring the ultimate cinematic experience to moviegoers in Australia," said Mahesh Sundaram, Vice President,
Asia Pacific, Dolby Laboratories. "With Dolby Atmos, you feel as if you are in the movie, not merely watching it. We are confident that moviegoers will continue to visit Village Cinemas once they enjoy their first Dolby Atmos film." "Village Cinemas is proud to work with Dolby to implement the groundbreaking Dolby Atmos sound technology at the iconic VMAX auditoriums at Crown Casino," said Kirk Edwards, Chief Executive Officer, Village Cinemas. "This marks another significant milestone for Village Cinemas as we continue to offer revolutionary systems and creative content to our patrons to ensure the most epic movie experiences. Dolby Atmos is the way to go, and we look forward to bringing the unsurpassed Dolby Atmos experience to audiences in more Village locations." Chris Burdon, the Dolby Atmos rerecording mixer on Edge of Tomorrow, highlighted, "This film provided so many fantastic opportunities to fully utilise the Dolby Atmos format. The film's narrative of human military conflict with invading aliens was always going to need a complex, multilayered sound mix. Director Doug Liman's dynamic visual style and his desire for a bold, adventurous audio track meant the sound team required an exceptional 'sonic canvas.' Mixing the film in Dolby Atmos made this possible. From military aircraft and alien missiles 'flying' above the audience, using the overhead speakers to highly detailed, pinpoint accurate gunshots and helicopter blades spinning around the theatre, Dolby Atmos allowed the sound story to be told with wonderful detail."
Super Star Power Productions Relies on Qube Cinema Server and IMB
"We can be colour grading at 4K one minute and the next we can review the 4K DCP that we mastered with QubeMaster Pro. There's no card to swap out, no cables to switch. It's seamless and simple."
CineArt Selects Doremi IMS1000 for VPF Rollout
Qube Cinema has installed its XP-I server and Xi 4K integrated media block (IMB) in Super Star Power Productions' new 4K DI suite in Los Angeles. The combination postproduction facility and theatre offers a seamless 4K pipeline from review of uncompressed 4K image files taken directly from 4K cameras, through colour grading at 4K, to the Qube XP-I server and Xi IMB and projected via Barco's new DP4K-P postproduction projector. Hollywood producers and directors of feature films will now be able to review 4K images, colour grade at 4K in real time and generate 4K DCPs for final QC, all from a single 4K projector in a home-like setting.
support DCPs at a frame rate of 30 fps at 4K or up to 120 fps at 2K. The postproduction version of the Qube Xi 4K IMB has a Quad 3G interface with four 3G-SDI cables that link to a Quantel Pablo Rio colour grading board with 4K output, which then streams uncompressed 4K content directly to the Barco DP4K-P projector. The Quad 3G inputs of the Xi 4K IMB give Super Star Power Productions (SSPP) a simplified 4K postproduction workflow, allowing it to review and process 4K master image files from 4K cameras, and then switch seamlessly from uncompressed 4K colour grading to 4K DCP playback without swapping input boards.
The beautiful DI suite is powered by a single Qube XP-I server, which is capable of streaming up to 1 Gbps of data, sufficient throughput to
"The Qube server and 4K IMB allow us to have immediate comparisons and precise quality control of all content," said Will Holman, owner of SSPP.
Doremi continues to grow rapidly as its top-of-the-line Integrated Media Server, the IMS1000, is selected for CineArt Multiplex, the leading exhibitor in Minas Gerais, the second largest state in Brazil. The contractual agreement between Doremi and CineArt included 32 units to be added to the total install base of 41 servers, with Quanta DGT as the VPF integrator and CineBrasil as the service provider. As he completed the VPF signature process with Quanta DGT AAM, Lucio Otoni, CineArt Multiplex General Manager stated, "We've finished the VPF signature process with Quanta DGT AAM and we understand that the Doremi IMS1000 is the best server option on market." Lucas Crantschaninov, Cinema Sales Manager for Doremi Brazil said, "We are very proud to be the preferred choice of servers for the digital conversion of CineArt. Our long-term commitment to the market, together with our outstanding service support, continues to bring us outstanding results with key exhibitors such as CineArt Multiplex." Doremi has gained momentum in the Brazilian market in the last 8 months, with now over 1,000 screens deployed in the country. The company's reputation for outstanding reliability, ease of use, and broad feature set continues to expand just as it has in every other area of the world. July-August 2014
Quanta DGT/AAM Signs Kinoplex, Brazil's Largest Chain Quanta DGT/AAM, the partnership set up between two of the main entertainment infrastructure players in Latin America (TELEM and DGT) and digital cinema company Arts Alliance Media, will be the integrator for the digitisation of the largest Brazilian movie theatre chain, Kinoplex. Christie will supply projectors for the rollout, Doremi will supply the servers and Kelonik will be in charge of installations. Kinoplex, which has over 170 screens across Brazil, has signed a contract to be part of Quanta DGT/AAM's VPF program to digitise its movie theatre chain. All of Kinoplex's screens are part of the contract. The project includes the VPF integration, with Arts Alliance Media's TMS (Theatre Management System) software solution and funding through the Audiovisual Sector Fund of ANCINE (the National Cinema Agency) via BNDES (the National Bank for Economical and Social Development). According to Quanta DGT's director of Business Development, Luiz Fernando Morau, the agreement represents the consolidation of Quanta DGT/AAM in the Brazilian market, with over 70% of the national exhibitors having joined their VPF. "Quanta DGT/AAM, with the goal of always offering full flexibility regarding exhibitor's choices, allowed Kinoplex to acquire the solution that better fitted the company's needs, fulfilling the expectations of their demanding staff." Doremi was chosen to equip the entire chain with servers, and the selected model is the ShowVault/IMB. "The decision was made based on the reliability of Doremi servers, which guarantee the highest uptime which means a longer seamless operation period", explains the company's Cinema Sales Manager for Brazil, Lucas Crantschaninov. The projectors will be supplied by Christie. "We are honoured for Kinoplex having chosen Christie's
technology to build its digital cinema base", says Bruno Tavares, General Manager, Christie Digital Systems, South America. "We are very satisfied in adding this visionary exhibitor to our customer base, which is quickly growing in South America. The entire Christie staff, worldwide and also in Brazil, is eager to start working along Kinoplex, a company we have developed a solid relationship with." The installations will be handled by Kelonik. The rollout operation of Kinoplex is scheduled to start midJuly, when the equipment starts arriving in Brazil.
The Festival of Cannes Once Again Trusted Doremi Doremi, world leader in digital cinema servers, has been the Official Technical partner of the Cannes Film Festival, which took place from May 14-25. For the 3rd consecutive year as an Official Technical partner of the Festival, Doremi has successfully implemented its most advanced technologies. Doremi is one of the pioneers of digital cinema, and one of the leading players in digital cinema, obtaining compliance with DCI standards and giving it recognition throughout the industry. More than 55,000 screens equipped with Doremi are active in the world, including approximately 5,000 in France. This year, the partnership with the Festival highlighted the flagship of the Doremi playback servers:
Integrated Media Block (IMB) and ShowVaults. A fleet of 45 servers was provided for all of the theaters of the Palace, from the Official Selection to the "MarchĂŠ du Film". The projections were displayed in 2K and 4K, and 2D and 3D. All of the deployed solutions comply with quality standards and ensure an excellent DCI projection of the movies. Patrick Zucchetta, President of Doremi Europe commented, "This year, we were again very pleased to get the chance to work closely with the Festival of Cannes. It is an honour to provide our technology, including this year a large majority of the theatres equipped with IMB/ ShowVault. The long standing relationship with the Cannes Film Festival allows us to implement our technology in the service of this great film event of international renown." Doremi was assisted by the technical expertise of the CST (Commission SupĂŠrieure Technique de l' Image et du Son) to manage its fleet of servers, in order to deliver the best possible picture. The joint work with this historic Image Expert guarantees the Festival a perfect technical quality of facilities, as well as optimal broadcasting of the movies. Alain Besse, in charge of projections at the CST, adds, "We are very satisfied with our collaboration with Doremi, which ensures performance and reliability. Their servers are at the forefront of technology and are able to meet all of our screening needs, including 2K and 4K, or regarding the perfect management of subtitles for example. As for the experienced Doremi team, they are always available and we can count on them." Regarding the validations and repairs of the DCPs (Digital Cinema Package), these were made in collaboration with the Eclair Group on the Doremi RAPID station and via the latest generation software tool, CineAsset-Pro.
AAM Announces Screenwriter Support for IMAX Screens Arts Alliance Media (AAM), leader in digital cinema software, has announced that its Theatre Management System (TMS), Screenwriter, now features full integration with The IMAX Experience, allowing screens in IMAX cinemas to be controlled with one simple, automated workflow. The first customer to benefit from the new solution will be a joint client of AAM and IMAX Corporation, Wanda Cinema Line. Previously, exhibitors with both IMAX screens and other digital screens in the same complex would have two separate workflows to run their cinema operations. With the new Screenwriter integration, exhibitors can manage all screens in the complex from one central point, providing an easier and cheaper solution. IMAX screens can also now benefit from the monitoring and control Screenwriter provides, including real-time playback reporting, alerts for errors with content or KDMS, drag and drop playlist building, automatic content transfer and comprehensive log collection. Howard Kiedaisch, Chief Executive Officer of Arts Alliance Media, said of the development, "IMAX has built a great brand and technological solution and we're very pleased to help enable our exhibitors to centrally operate IMAX screens along with their other equipment. We're proud that Screenwriter is the only TMS on the market that supports all screen server manufacturers and that this new feature will be first experienced by such a prestigious partner as Wanda." Andrew Cripps, President, EMEA of IMAX, added "As we continue to rollout IMAX cinemas across the globe, we're excited that by working with AAM we enable our cinema
partners to have simple control functionality. We have many installations to come and with many overlapping customers, it's great that we're able to work together effectively."
GDC Technology Unveils Total Cinema Solutions at CineEurope 2014 GDC Technology, a world leading digital cinema solutions provider, showcased a comprehensive set of reliable and cost-effective digital cinema solutions at CineEurope 2014, Barcelona. CineEurope delegates got a chance to learn how GDC Technology's comprehensive cinema solutions and turnkey service support can help to simplify an exhibitor's operations. The new storage solution, Enterprise Storage Plus, was also showcased in the event.
SX-3000 Standalone IMB with Portable and/or Enterprise Storage / Enterprise Storage Plus The revolutionary SX-3000 Standalone IMB is the industry's first standalone IMB which eliminates the need for an external file server and therefore reduces maintenance and operation costs. It fulfil all Hollywood specifications including multiple image resolutions and high frame rate ("HFR") playback in both 2D and 3D. It also supports the needs of alternative content screening such as automated DVD/Blu-ray playback and 3D live screening without additional hardware being required. SX-3000 Standalone IMB works seamlessly with versatile GDC storage solutions, including Portable Storage,
Enterprise Storage and Enterprise Storage Plus, which provide scalable and reliable storage to manage movie content. Portable Storage can support up to 3TB of redundant hot swappable storage whereas Enterprise Storage provides larger storage options ranging from 4TB, 6TB to 8TB of redundant hot swappable storage. The new Enterprise Storage Plus, retains all the powerful features of Enterprise Storage with 2 additional benefits: a redundant power supply for increased reliability and space for an optional CRU bay for content and key delivery.
Content Library Adapter (CLA-1000)
The Content Library Adapter (CLA1000) is a solution which can help exhibitors transfer and safeguard content in an easy and cost effective manner. CLA-1000 can help save time and labour costs of transferring content for theatres without any Theatre Management System (TMS) as it allows content transfer via a standard OS computer control interface. Exhibitors can save costs by i) transferring content from one screen storage device to another through Ethernet cable without physically relocating a device and ii) transferring content from a CRU to multiple screens simultaneously through a Local Area Network instead of ingesting content manually from a CRU to storage devices one by one.
Quality Management System (QMS-1000) GDC Technology's Quality Management System (QMS-1000) which can be integrated with the Theatre Management System (TMS1000), performs automatic monitor and data analysis of luminance, chromaticity and sound-pressure level. It provides test reports in multiple formats and carries out intelligent and automatic adjustment to ensure high quality movie experience. July-August 2014
Michael O'Leary to Exit MPAA
The Motion Picture Association of America (MPAA) announced that Senior Executive Vice President for Global Policy and External Affairs, Michael O'Leary has elected to leave the MPAA at the end of June. "Having accomplished most of my goals at the MPAA, I am excited to move on to new career challenges," said O'Leary. "It is difficult to leave a place after nine great years, but the time is right. I will miss working with so many talented people, but I am very proud of my time at the MPAA and everything we accomplished together." O'Leary, who will assume an advisory role to the MPAA during the transition, joined the Association in 2005. In his current position, he oversaw the creation of the MPAA's Global Policy team dedicated to enhancing the Association's policy efforts around the world. He also worked with MPAA member studios to improve and strengthen the overall strategic approach of the industry. O'Leary, who served on the MPAA Board of Directors, was instrumental in building the Association's topflight domestic advocacy team in Washington. "I want to thank Michael for his tireless commitment to this Association and the creative community and for his leadership here for so many years," said MPAA Chairman and CEO Senator Chris Dodd. "I also want to thank him for his continued support of the MPAA during the coming transition." O'Leary indicated he will take some time in deciding on his next endeavor.
AAM Appoints New CEO Arts Alliance Media (AAM), the world's leading digital cinema company, announced that Howard Kiedaisch will be stepping down as CEO after nine years in the position. John Aalbers, former CEO of telecom industry software provider Volubill, becomes CEO effective July 7th. Additionally, AAM also announced that its Event Cinema distribution division is to be merged with successful content production and finance company, and sister company to AAM, Mr. Wolf. This merger will create a separate, newly integrated content production, finance, distribution and marketing business which is 100% focused on delivering Event Cinema. The new company will do business under the name Arts Alliance Limited. These announcements follow AAM's recent news that it had sold its Content Processing and Delivery division to Motion Picture Solutions. Together these developments complete the streamlining process which now enables AAM to focus entirely on supplying technology, support, software and financing solutions to cinemas worldwide. During Kiedaisch's tenure as CEO of AAM, the company moved from start-up phase to digitising over 4,000 cinema screens under VPF programs worldwide with more still to come. During this time, AAM also developed a digital cinema software business which currently touches over 20,000 screens worldwide, and built a Network Operations Centre that currently supports over 11,000 screens for exhibitors around the globe. In the same period, AAM also pioneered today's burgeoning Event Cinema sector, distributing and marketing over 80 releases. John Woodward, Chairman of AAM stated, "I speak for everyone on the AAM Board and in the business when I thank Howard for his extraordinary achievements at AAM over the past nine years. AAM has thrived under Howard's leadership,
and now with this restructuring Howard leaves having expertly positioned the company to continue to be a major player in the expanding world of digital cinema." Kiedaisch will remain on the board of AAM and work closely with John Aalbers over the coming weeks and months as he assumes leadership of AAM for the next phase of development.
Kinoplex Selects Doremi for 160 Screens in Brazil Following an extensive review over the past year, Kinoplex announced that it has selected Doremi to digitize 160 of its screens across Brazil. Quanta DTG | AAM is managing the transition. Kinoplex has been a pioneer of cinema exhibition in Brazil since 1917, operating more than 232 movie theaters across 35 locations to date. With approximately 50,000 seats, it is by far the largest independent exhibitor in Brazil. Luiz Severiano Ribeiro Neto, President of Kinoplex, related that the company did not take the decision lightly, saying, â€œGiven our rich history as a company, we feel a constant responsibility to deliver the best experience possible for our guests. At the same time, we must also utilize the most efficient, reliable tools available. Our careful review confirmed Doremi as the best solution.â€? The system will utilize the Doremi IMB/ShowVault DCP platform, which features dual 3G SDI inputs, HDMI 3D input with HDCP, 4K projector image playback support, and scaling capabilities of 2K or 4K resolutions.
Indonesian Exhibitor Cinemaxx Taps Harman's JBL Loudspeakers and Crown Amplifiers
Harman Professional announced that Indonesian cinema exhibitor Cinemaxx has partnered with Harman to equip more than 300 new screens with JBL Professional ScreenArray loudspeakers, powered by Crown amplifiers, over the next 12 months. In the years ahead, Cinemaxx may outfit up to 1,000 screens throughout Indonesia with JBL and Crown. Cinemaxx is a new cinema exhibitor that is planning 150 locations across 77 cities. The Harman systems at these theatres will feature JBL cinema systems, powered with Crown DCi amplifiers. In addition, up to 100 screens will feature Dolby Atmos cinema audio technology. "Our goal is to provide the best possible cinema experience to moviegoers in Indonesia," said Brian Riady, CEO, Cinemaxx. "With Harman as our technology partner, we are confident that we will amaze moviegoers throughout Indonesia and keep them coming back to Cinemaxx theatres!" "Cinemaxx is dedicated to providing its customers with the most cuttingedge and immersive cinema experience available, as evidenced
by its commitment to outfit up to 1,000 screens with JBL and Crown," said Thomas Marcher, Director of Sales, Asia & Pacific, Harman Professional.
Exclusive Supplier of Lasers for IMAX's Laser Projection Systems IMAX Corporation announced an agreement for Necsel to be the exclusive worldwide provider of specified lasers for IMAX's laser projection systems. IMAX's laser projection technology will enable exhibitors to deliver a wide array of digital content - including documentaries and blockbuster films - and further enhance The IMAX Experience for audiences. Necsel manufactures customerspecific laser lighting solutions for digital projection and other lighting applications. Necsel's patented technology comprises red, green and blue visible lasers and laser systems that meet critical performance, size
and cost requirements for laser cinema projection and a host of specialty lighting uses. Necsel technology will enable the commercial rollout of nextgeneration digital cinema, largevenue projection, laser-based simulation systems and other forms of lighting. "Our laser projection solution represents IMAX's largest R&D investment to date and, as part of this development, we have aligned ourselves with only the best worldwide technology partners who share our commitment to innovation and quality," said Robert D. Lister, Chief Business Development Officer, IMAX Corp. "It is clear to us that Necsel not only shares this commitment, but - as the leading global provider of laser light source solutions - it gives us the security of knowing that our groundbreaking laser projection offering is leveraging the capacity and resources of the world's premiere laser manufacturer." "We are honored to have been selected in this capacity by IMAX," said William Mackenzie, Founder, Chairman & CEO of Necsel. "Necsel's technology is transforming cinema projection and we look forward to helping IMAX redefine the premium movie-going experience with its next-generation laser product. We are committed to contributing our extensive resources and awardwinning technology to IMAX's cutting-edge development." IMAX's next-generation laser projection system is expected to set a new benchmark as the industry's premium entertainment experience. The system incorporates the laser digital intellectual property IMAX exclusively licensed from Eastman Kodak and relies on Barco's best-inindustry system manufacturing expertise. It will enable IMAX's largest screens to deliver the highest-quality digital content available with greater brightness and clarity, a wider color gamut and deeper blacks. IMAX's very first laser projection systems are expected to be rolled out by the end of this year. July-August 2014
Dennis Sands Selects Meyer Sound for Dolby Atmos
brainer. Everything I do here translates beautifully onto the dubbing stage." Dennis Sands has credits on nearly 300 feature films as a score mixer or re-recording mixer, earning four Academy Award nominations and winning two Cinema Audio Society Awards, including one for Lifetime Achievement.
U.S. Patent Infringement Lawsuit Against Volfoni is Dismissed Award-winning film sound engineer Dennis S. Sands has upgraded his Sound Waves SB studio with a Meyer Sound cinema loudspeaker system for mixing in Dolby Atmos. Located in Santa Barbara, Calif., Sands's private studio is the first Dolby Atmos dubbing stage dedicated exclusively to native mixing of film music. "I'd heard Meyer Sound systems at several well-known post-production studios," says Sands. "I was immediately impressed with the quality of the sound, the accuracy, and the depth and richness of the entire soundtrack. It was obvious Meyer Sound was the direction to go for the studio." Sands's monitoring system is anchored by three Acheron 80 screen channel loudspeakers and two X-800C high-power and X-400C cinema subwoofers each. Perimeter and overhead reinforcement comprises 14 HMS-10 and 10 HMS-12 surround loudspeakers with IntelligentDC technology, while a Galileo loudspeaker management system with one Galileo 408 processor supplies drive and equalization. The system was designed and installed by Ron Lagerlof of Los Angeles-based Visioneering Design Company in consultation with Andy Potvin of Dolby Laboratories.
"It's easy to see why Dennis was presold on Meyer Sound," says Lagerlof. "The loudspeakers have extremely low distortion and accurate phase response. You hear exactly what's there, and nothing else." Since installation, Sands has finished native Atmos film score mixes for Mr. Peabody & Sherman and the 2014 Godzilla reboot. He has also completed a 7.1 mix of Maze Runner and television mixes for the Cosmos: A Spacetime Odyssey series. Originally built as a private dubbing stage for director Andrew Davis, Sands's studio was designed by film sound legend Tomlinson Holman. The room features a 12-by-20-foot screen, a Euphonix System 5-MC DAW controller, a Euphonix CS3000 digitally-controlled analog console, and four linked Pro Tools systems. A Focusrite RedNet 6 MADI bridge connects the Dolby Atmos RMU (Rendering and Mastering Unit) to a BSS SoundWeb London DSP system, which is used primarily for signal routing when switching from Atmos to 5.1 or 7.1 monitoring. "People who have worked with me in the room before are very impressed with the improvement," reports Sands. "Reactions have been uniformly positive. For me, the monitoring decision was a no-
Worldwide leader in 3D technology Volfoni announced that RealD agreed to dismiss the U.S. patent lawsuit against Volfoni in the United States District Court for the Central District of California. Volfoni denies RealD's allegations of U.S. patent infringement against Volfoni's SmartCrystal Diamond product, and asserts that RealD has no corresponding international patents for the U.S. patents at issue in the lawsuit. Volfoni continues to offer its SmartCrystal Diamond product to theatre owners on the international market, to great success. The SmartCrystal Diamond passive 3D polarization system uses an innovative "Triple Beam" technology, producing the highest light efficiency of any 3D system on the market. Volfoni provides the most flexible and affordable business model of any 3D equipment manufacturer. "We are pleased to report that Volfoni and RealD have agreed to end this lawsuit regarding U.S. patents," said Thierry Henkinet, President of Volfoni. "We stand behind our product, SmartCrystal Diamond, which has been heralded by our clients around the world as a groundbreaking 3D cinema system."
New Immersive Surround Loudspeaker QSC Audio Products introduced the newest member of the SR Series surround loudspeaker family, the SR-1290. In response to new audio requirements created by immersive sound formats, the SR-1290 offers high power output, more flexible mounting options, and outstanding sonic performance in a stylish, costeffective, compact loudspeaker enclosure. "The growing interest in objectbased audio and so-called 'immersive sound' formats presents some new challenges to both the theatre owner and the sound system designer," says Barry Ferrell, Senior Vice President, Chief Strategy Officer and Business Unit Manager for QSC's Cinema Group. "A properly configured system requires many more surround loudspeakers and amplifier channels, which can mean a significantly higher cost compared to a 5.1 or 7.1 system. The loudspeakers must be capable of producing higher output, with features allowing them to be mounted in non-standard locations, and to be aimed with more precision. And more amplifier channels are needed to power all of these extra loudspeakers. The new SR-1290 addresses all of these needs. Since it is a coaxial design, the front baffle area is much smaller relative to a conventional 'over-under' horn and woofer configuration, resulting in a smaller enclosure, making mounting and aiming easier. Its high power rating and 4 ohm impedance means it draws more power from the amplifier and produces greater output compared to most 8 ohm loudspeakers in its class - which also means smaller amplifiers can be used to achieve maximum results, minimising overall equipment costs." The SR-1290 Cinema Surround Loudspeaker features a high-power,
combine different models (for example, SR-1290 in front-screen locations and SR-1030 on side and rear walls) and maintain a consistent aesthetic appearance. The SR-1290 Surround loudspeaker will be available beginning in September 2014.
USHIO Announces New Digital Lamps for NEC Projectors long-throw 12" (305 mm) lowfrequency transducer with a coaxially-mounted 1.75" (44 mm) titanium diaphragm compression driver. In addition to enabling a smaller enclosure design, coaxial alignment also creates a "point source" radiation characteristic, so all frequencies are perfectly aligned through the crossover region, resulting in better sound quality. Since the coaxial driver inherently produces a conical dispersion pattern, the enclosure can be rotated with no effect on the coverage pattern. The SR-1290 is also designed for safe and secure overhead mounting. The cabinet is constructed of 15-mm Baltic birch plywood with internal bracing for superior structural integrity. A set of four mounting points centred on the cabinet's rear panel allows the use of a multiple angle aiming bracket for ceiling mount applications where the loudspeaker needs to be aimed directly downward. Pre-installed speaker-side hardware allows fast single-installer wall mounting, and brackets support down-angles of either 15째 (standard) or 23째 (optional). A traditional U-bracket (YM-400) is also available. The compact black enclosure with black grille features the same styling as QSC's other SR family surround loudspeakers, so you can easily
USHIO, a leading lamp manufacturer of digital cinema projectors, announced new lamp releases for NEC projectors. All NEC lamps are certified by NEC and perform at the highest level and quality. USHIO's latest release is the 3kW and 4kW DXL long life lamps. These lamps enable the customers to reduce cost of ownership. With these new lamps, USHIO now offers not only a full DXL line-up but also complete DXL L-series line-up for the Dcinema market. All released lamps are certified by NEC Display Solutions, Ltd. USHIO is dedicated to responding to the needs of the cinema market. Ushio recognizes exhibitor's need to lower their cost of ownership. Today Ushio's new lamps DXL-30SN2/L, DXL-31SN2/L, DXL-40SN/L and DXL41SN/L can match the need of the exhibitor's to lower the cost of ownership. Of special note, Ushio's new technology allows the new lamps to maintain their initial brightness while improving lamp life.
Christie Introduces High Resolution LED Tiles Christie, the trusted global leader in high quality visual and audio solutions, is expanding its line of high brightness tiled displays with the introduction of the Christie Velvet line of built-to-order, high resolution indoor LED panels. Seamless to integrate and available in various pixel pitches, Christie's LED tiles display stunning content that help businesses creatively connect their brand message to their audiences. Debuting at InfoComm 2014 in Las Vegas, the brilliant LEDs are well-suited to various indoor applications such as retail,casinos, museums, corporate lobbies and control room environments, where 24/7/365 reliability is required. "LED video walls have become a viable technology for many indoor applications," said Richard Heslett, senior product manager, Christie. "With their reliable 24/7 operation, fine pixels, and long life, many businesses are turning to LEDs, however, obtaining them to customer specifications has been a challenge for integrators and end users. Christie Velvet LED displays are manufactured to the highest quality standards, and are backed by the excellent pre-and post-service and support that Christie is known for around the world." Depending on customers' needs, Christie Velvet LED displays can be mounted in a variety of orientations, including curved, suspended from ceilings and structures or connected to each other to create a seamless array.
Christie Velvet features: •
Solutions configured according to needs
Quick budgetary design and quote
Trusted pre/post sales service and support
Certified solid state illumination LEDs available in 1.875mm, 2.5mm, 3.0mm and 4.0mm pixel pitches
1200Hz refresh rate, 1000 nits brightness
Front serviceable design (3.0mm and 4.0mm models)
Wide-viewing angles (160 degrees), darker blacks, and exceptional high color fidelity
Ability for end-user to create large seamless digital canvases
High performance and 24/7/365 reliability
Turnkey solution with Christie's image processing and content management software
Christie's family of tiled display solutions includes LCD flat panels, the Christie Entero rear projection cubes, the award-winning Christie MicroTiles and now the new LED Christie Velvet line. As a single source provider; Christie's wide selection of display solutions can be bundled with options such as Christie Brio integrated collaboration system, Christie Interactivity Kit, Christie Jumpstartcontent management for multi-touch interactivity, powerful Christie Vista Spyder image processors, Christie Phoenix open content management and network streaming solution, as well as enhanced service plans and on-site support.
Christie Previews the World's First and Only 4K Laser Illuminated Projector Christie is previewing the latest addition of its Mirage 4K platform, the Christie Mirage 4KLH. This new model builds on all the benefits of the Mirage platform, but adds Christie Solid State Laser illumination technology, driving a new range of brightness and flexibility. The Mirage 4K platform is ideal for 3D applications for advanced visualisation in automotive, locationbased entertainment, government, military, oil and gas and more. Christie laser projectors provide industry-leading brightness, wider colour gamut capabilities, higher contrast, and dramatically reduced maintenance requirements, resulting in a better experience for all 2D and 3D applications. The Mirage 4KLH supports both full 120Hz active stereo and passive stereo with optional external filters and polarised passive glasses with 3P illumination. The Mirage 4KLH system is also configurable with Christie's latest 6P illumination source, providing support for an unprecedented 120Hz per eye when used in a 6P passive configuration. Like the existing lamp based Mirage 4K projectors, the Mirage 4KLH is anchored by the unique Christie
TruLife electronics platform with proprietary 1.2 Gigapixel per second, floating point architecture, offering full 4096 by 2160 resolution at 120Hz for 3D and integrated Christie Twist for warping and blending. The preview of the Mirage 4KLH took place in the Christie 3D showroom located adjacent to the IVR conference at the Tokyo Big Sight, Japan's largest exhibition technology and high definition image technology, June 25-27. "Christie, as the global leader in the visualisation market has the first and only projector in the world to provide full 4K DLP resolution at a true 120Hz. With this new Mirage 4KLH, Christie has raised the benchmark even higher with high performance visualisation solutions currently available on the market," said Larry Paul, senior director of Technology and Visualization Solutions, Christie. Mamoru Hanzawa, director of Christie Digital Systems, Japan, added, "Christie designs the most functionally-advanced and intuitive 3D projection for visualisation display solutions. Enhancing the Mirage 4K with laser illumination will expand the capabilities for new applications. Christie once again is demonstrating its leadership position and dedication to customers with solutions and services that our customers have come to expect. Our mission at Christie is to help our customers create the world's best shared experiences." By introducing the world's first stereoscopic 3-chip DLP projector in 2001, Christie set new standards for 3D performance and changed the way people looked at stereoscopic images. For 12 years Christie has led numerous Mirage innovations to facilitate the use of 3D visualisation for multiple applications, including visualisation of advanced computergenerated models, and presentation of engaging content at locationbased entertainment venues, opening the doors to enhanced human perception and understanding.
Barco Launches Revolutionary 4K Screen Management System Barco, a global leader in image processing technology, proudly introduces its groundbreaking E2 image processor - featuring native 4K inputs and outputs and supporting 4K content at professional frame rates (up to 60p 4:4:4). Raising the bar for live screen management, this brand-new presentation system provides superior image quality, exceptional input and output density, great expandability, and durability. A truly versatile system, it offers eight mixable PGM outputs and four scaled Aux outputs for full show control with a single box. "We are proud to be breaking ground in superior image processing technology with the launch of our revolutionary E2 image processor," says Bill Morris, Vice President Venues & Hospitality at Barco. "Supporting native 4K input and output, it is the first and only screen management system on the market that can manage a 4K projector blend with refresh rates up to 60 Hz. As the E2 excels in versatility, 90% of the world's shows and events can now be managed with a single box. What's more, if rental companies add additional chassis, they can cover 100%."
Native 4K input and output With native 4K input and output, the E2 provides impressive pixel processing power. Whether native or scaled inputs, two connectors or four, this HDCP-compliant system manages it all. With 28 inputs and 14 outputs (eight PGM, two Multi-viewer and four scaled Aux outputs), the E2 system offers full show control in one box, including eight independent PIP mixers and a dedicated Multiviewer. Moreover, it is the only system on the market that can easily expand beyond these eight outputs without the need for additional external processing and routing.
Extreme expandability The versatile E2 is not only built to expand outputs but its inputs and
layers can also be extended - the system is even capable of managing a blend of up to 32 4K projectors. With a linkable chassis, the E2 can expand its capabilities without requiring external routers to distribute the signals.
Simple servicing and upgrading Thanks to its modular design, users can simply add a new input or output card to support future signal interfaces, making it a long-term solution. This modularity also offers great serviceability, as users can easily swap a specific input or output card in the case of damage or failures, without needing to ship or replace the entire box.
Easy control The E2 comes with a cross-platform user interface that provides touchscreen ergonomics and ease-ofuse. As the presets are stored on the chassis - fully independent of the GUI - the E2 enables easy control via thirdparty systems. Multiple users can control the system simultaneously, and the API allows third-party developers to create custom control programs and interfaces.
Designed for life on the road Designed for the live event industry, the rugged E2 features a steel chassis that's able to withstand continuous shipping and the other challenging conditions of life on the road. What's more, it offers the most extensive show control in a compact form factor of only four rack units, which makes it easy to handle and ship. And thanks to its modular cards and dual redundant Power Supply Unit (PSU) for greater reliability, the E2 is easy to service in the field. July-August 2014
Christie Unveils World's First Commercial High-Brightness Laser Projection Christie, the industry-preferred brand in the digital cinema projection market, announced the unveiling of the world's first permanent, commercial pure-laser projection system installed at the prestigious Shanghai Film Art Center on June 13, 2014. The Shanghai Film Art Center, the first cineplex to be built in China, has just installed the Oriental Mega Screen and is equipped with state-of-the-art equipment and amenities. The installation of Christie's laser projection system at this facility is a clear indication that high-brightness laser projection technology is officially ready to enter commercial operations. Having successfully demonstrated high powered laser projection systems at numerous industry events for the past two years, including the world's first commercial laser engagement in 2013, Christie has once again accomplished the pioneering feat of placing this groundbreaking projection technology permanently within the reach of the mass audience.
Laser Projection Redefines 3D Cinema As the pioneer and leader in laser projection technology, Christie is in
constant pursuit of maximum brightness and the most realistic colour reproduction. Through continuous research and innovation, Christie's industry-leading products and solutions have time and again captivated and amazed audiences around the world, and constantly elevate the audiovisual experience to new heights. Christie laser projectors will provide industry-leading brightness of up to 72,000 lumens per projector head, wider colour gamut capabilities, higher contrast, and dramatically reduced maintenance requirements, resulting in a better experience for all applications. With a maximum brightness of up to 72,000 lumens, Christie's laser technology has achieved an astounding breakthrough, which completely shattered its previous record of 34,000 lumens using conventional xenon lamp technology. Not only does this greatly increase the brightness when viewing 3D content, it also further pushes the capability of high quality visuals and art forms to new heights and restores cinematic colours to its intended realism and brilliance. One of the biggest advantages of Christie's laser projection system is its scalable and upgradable architecture,
which allows users to precisely select the amount of laser light needed for their screen, with the capability to simply add more laser modules in the future if they wish to increase the brightness. Moreover, using the industry-proven Christie Duo system, there is no practical limit to the amount of light that can be put on a cinema screen. For maximum reliability, Christie's laser system features integrated cooling in each laser module to provide the right amount of cooling for the lasers that are in use. If the mechanical cooling components in one module experience a failure, then only that module goes dark, but the movie can still play very brightly with the light from other modules. Competitive architectures feature a single cooling unit, which represents a high risk, single-point of failure for the entire system.
Smooth Installation of World's First Commercial Laser Projector The process of installing the world's first commercial 4K laser projection system in Hall 1 of the Shanghai Film Art Center by Christie's highlyproficient technical personnel has been smooth sailing. Boasting a
brightness of 60,000 lumens, a contrast ratio of 3000:1, and a 1.4 gain high uniformity white screen measuring 23 meters in width, these technologies are set to deliver an unprecedented and ultimate visual experience for the audience. Christie is on track in setting a new record in the global film industry with the installation of this cutting edge laser projection system. "As a pioneer in the visual display industry, Christie prides itself in the pursuit of achieving the highest in brightness and achieving the most realistic colour reproduction," said Don Shaw, Senior Director, Product Management, Christie. "With our rich experience in the field of laser research and development, and having conducted a number of professional and commercial laser demos, Christie is able to deliver fullfledged laser technology at the Shanghai Film Art Center. The installation has been exceptionally smooth due to our longstanding expertise and practical experience in laser projection technology." Christie is the world's first visual technologies company to receive the US FDA approval of variance, allowing the sale of laser projectors for use in a cinema.
Christie Leads the Way in Commercial Laser Projection The event at the Shanghai Film Art Center showcases the capabilities of Christie's 4K laser projection system in displaying spectacular images that redefine the cinematic experience. From the gleaming bodywork of the hottest automobiles to flying sparks from chainsaw-wielding workers, the minute details on an owl's feathers to soaring grains of sand generated from swift motions of a shark, the crystalclear waters of natural landscapes to glimmering lights from multiple windows of a New York skyline at night, Christie's laser projection system elevates stunning and lifelike visuals to a whole new level. Guests who attended the event are not just enthralled by this
unprecedented visual experience; they are also convinced that this installation marks a new milestone in cinema projection technologies. At the same time, they look forward to enjoying these breathtaking visuals at more theatres in China. The gala event concluded on a high note with the special preview of the Hollywood blockbuster film Godzilla.
equipped with the Barco Alchemy technology into their circuits. Support for Barco Alchemy adds to the support Screenwriter already provides to equipment from different vendors even within the same cinema, allowing exhibitors to seamlessly manage all screens and content in their complex from one central point.
"We are very proud to install and showcase the superiority and brilliance of the world's first commercial laser projection system," said Lin Yu, vice president, Christie Asia Pacific. "This revolutionary projector system will show how 3D light levels, colour fidelity, image uniformity, viewing comfort, and a sense of immersion can be vastly improved, versus the conventional 3D systems found in cinemas around the world today. This heralds a new chapter in the milestones of global film technology and reinforces Christie's position as the leader in ushering commercial theatres into a new era of high-brightness laser projection."
Combining the functionalities of an Integrated Cinema Processor (ICP) and a media server into a single projector, Barco Alchemy brings more simplicity and reliability into the projection booth, while providing future-proof modularity at unparalleled levels. Barco Alchemy technology also supports cuttingedge projection: the 4K Barco Alchemy projectors deliver stunning 4K 3D images and are the first digital cinema projectors that enable 4K 2D content to be shown at 60 fps.
Barco and Arts Alliance Media Announce Screenwriter TMS Global digital cinema leader Barco announce that the Screenwriter Theatre Management System (TMS) from Arts Alliance Media (AAM) - a leader in digital cinema software - is the first TMS to support the new Barco Alchemy integrated cinema media processor. This feature will be available to all current and future Screenwriter users, allowing them to easily integrate projection systems
Freedom of choice "AAM are passionately committed to freedom of choice for exhibitors," said Rich Phillips, CTO of AAM. "We support all the key servers and media blocks, enabling exhibitors to use equipment from different vendors in the same facility seamlessly. We are delighted to be able to now offer the same support for the innovative Barco Alchemy product, giving exhibitors the freedom to make technology decisions that are not limited by compatibility with their existing systems."
Offering exhibitors more simplicity and reliability Theodore Marescaux, Product Manager at Barco, added: "We're delighted that Screenwriter is now integrated with Barco Alchemy technology. In addition to having the best possible image technology, exhibitors can now seamlessly manage Barco Alchemy screens within their complex. Barco and AAM are both committed to offering exhibitors groundbreaking technology that's easy to use, making cinema operations even more simple and reliable."
NEC Display Solutions Announces World's First DCI-Compliant Laser Projectors NEC Display Solutions of America, a leading provider of commercial LCD display and projector solutions, announced today Digital Cinema Initiatives (DCI) compliance for its NC1100L and NC1040L laser projectors, the latest models in its Digital Cinema Projector Series. Both the "NP-NC1100L-A" and "NPNC1040L-A" have earned compliance on DCI Compliant Equipment - the first as Laser Digital Cinema projectors. The test was completed by the Research Institute for Digital Media and Content (DMC) at Keio University in Japan, one of three entities licensed by Digital Cinema Initiatives, LLC to perform the Compliance Test Plan (CTP) tests. All NEC digital cinema projectors, including the NC900C, NC1200C, NC2000C, NC3200S and NC3240S, have been certified in: (*1) Digital Cinema System Specification (DCSS) Version 1.2 with Errata as of 30 August 2012, Incorporated (Approved 10 October 2012) (*2) DCSS Compliance Test Plan Version 1.2 as of 10 October, 2012 The NC1100L is the world's first compact Digital Cinema projector using blue Laser as a Light Source and is the ideal 2K digital cinema solution for smaller screens up to 36ft./11m (14ft.-L using a 1.8 gain screen) or small projection booths with the highest quality at an affordable price. On the other hand, the NC1040L with 4K resolution uses RGB laser for an unsurpassed colour gamut, which delivers unequalled image quality for the most discernible cinema goers. The unique projection head coupled with a separate laser module is designed for smaller screens up to 32.8ft./10m (14ft.L using a 1.8 gain screen). Utilising a solid state light source, both projectors provide up to 20,000 hours of life, enabling lower maintenance cost.
13.1 or more immersive channels without the need for an external rendering processor. Utilising the DTS Multidimensional Audio engine, USL has created an immersive audio system that is fully DCI compliant. USL displayed the new CMS-2200 at the CineEurope 2014. Founder, President and Chief Technical Designer, Jack Cashin, states, "Our patented method of processing immersive audio data on media blocks offers a very cost effective solution that could enable wide use of 3D audio playback in cinemas."
Both laser projectors are the first in the Digital Cinema market to meet Laser Class 3R on IEC60825-1 Edition 2 of the international laser standard. "Achieving DCI compliance for our entire digital cinema projector line points to the leadership position NEC has earned in the Digital Cinema industry," said Rich McPherson, Sr. Product Manager for Projectors at NEC Display Solutions. "Our progress, however, is measured only in meeting the needs of exhibitors and ensuring they are equipped for business success." As a result of NEC's DCI compliance, exhibitors are positioned to capitalise on current and future growth opportunities.
USL Awarded Patent on Immersive Audio Technology The CMS-2200 Cinema Media Server with immersive sound technology includes new inventive features for digital cinema operators worldwide. The patented technology supports
In addition to the patented audio processing technology, USL has added several other innovative features to the CMS-2200. Product manager Bill Cribbs elaborated: "The CMS-2200 now has Cue bundling, which is the ability to group any number of automation cues into a bundle, greatly simplifying playlist creation. When used with the CMSA controller this provides an incredibly powerful automation solution. In the alternative content area, the CMS-2200 now supports HDMI auto switching, which means HDMI presentations can be placed directly into one playlist. An intermission feature was also added to playlist creation, which allows a user to insert an intermission playlist inside of a feature presentation." The CMS2200 servers are cloud-based and support network transfers of both content and playlists. Bill Cribbs further stated: "We are encouraged to see that the solid state solution is quickly becoming the choice for replacements and also installations in remote parts of the globe, where reliability is mission critical." For more than 32 years, USL, Inc. has been a global leader for technical achievements in the design, manufacturing, research, and development of cinema products and a five-time International Cinema Technology Association award winner for Manufacturer of the Year.
Qube Keysmith Offers Comprehensive and Powerful Key Management At CineEurope, Qube Cinema extended a limited invitation-only access to its new KeySmith.biz website, a powerful key management and reporting service for independent filmmakers, small distributors and compact postproduction facilities. KeySmith.biz allows filmmakers and film festivals to benefit from the unmatched features that make KDM distribution, tracking and delivery simple and easy. KeySmith.biz allows generation of KDMs by accessing a comprehensive Theatre Database that is continuously updated through strategic regional partners and crowdsourcing. KeySmith.biz is also protected by FIPS 140-2 certified hardware security modules and has comprehensive reporting capabilities that allow the user to keep track of all their KDM logistics. "We're empowering anyone to encrypt their DCPs and simply avoid the hassles of KDM logistics and current pricing models, all in a secure environment," says Nigel Dennis, Head of European Business for Qube Cinema. "With KeySmith.biz, filmmakers, producers, post facilities and distributors can now encrypt all their DCPs and protect their intellectual property while still having convenient access to the required KDMs for QC, screenings and worldwide distribution. For example, with film festivals requiring DCPs, KeySmith.biz will keep your content secure and easily accessible even during the chaos of a festival." As per DCI specifications, DCPs can be encrypted. KeySmith.biz affords the power to decide who can decrypt and playback DCPs - all through a simple to use cloud-based log-in access. Users select theatres from the theatre database and generate the required KDMs that will unlock the DCP for each selected theatre. Each KDM is tied to the unique identity of the digital cinema equipment from
the theatre database. KeySmith.biz can directly deliver the KDMs to the theatres via email and will also support the Theatre Key Retrieval protocol (TKR) now recommended by the ISDCF. Qube KeySmith has comprehensive reporting capabilities that allow the user to keep track of all KDM logistics. KeySmith.biz also has a powerful API that allows for seamless integration of the KDM service with any digital cinema mastering system. Qube Cinema's own QubeMaster Xpress for Windows and QubeMaster Xport for Mac will have Keysmith.biz integration soon.
MiT Announces Green Initiative Moving iMage Technologies announces an expanded line of energy-conscious products designed for the modern cinema. These products now include: IS-20A/IS-20D Power Sequencers network enabled, 6 x 20A power sequencers and line filter for sound racks and other electronics. The IS-20 products include inrush surge protection to softly apply the voltage, and sequences the six circuits on or off over several seconds to minimise current surges at the building load center. It also includes UL 1449 level 3 protection surge protection devices to protect delicate equipment from voltage surges and spikes that might come in on the supply voltage. The IS-20D has an advanced web interface for custom naming, timing sequencing and individual circuit control over the network. The IS-20 was designed with the intention of switching an audio rack, however it's equally applicable to controlling house lighting, exhaust fans, signs or marquee lighting, the concession stand, video games, or
any other aspect of the theatre where it's desirable to automatically power equipment on and off on a daily basis. The IS-20 products save exhibitors money on power costs, labour costs and wear and tear on breakers and switches. A-LMS 2/4 Dimmer - The A-LMS brings 'smart' capabilities to auditorium lighting control based on the use of power-saving LED fixtures that use the 1-10VDC architectural dimming standard. In a typical installation, the A-LMS receives scene cue commands from an automation or d-cinema server via GPI contact closures, RS-232, or network interface. DCE-10/20 Exhaust Fan Controller The DCE-10/20 is a closed-loop controller for efficient management of projector exhaust. It controls exhaust airflow on demand, preventing conditioned air being wasted through the projector when cooling is not needed. This translates to substantial energy savings. Depending on the model, the DCE can provide airflow, temperature and humidity data to the exhibitor NOC for monitoring the operating conditions of the projector. The IS-20, A-LMS and DCE products are only the first in a series of new products being developed by Moving iMage Technologies to create an automated, optimised, and especially, green modern cinema theatre. Moving iMage Technologies is a manufacturer of standard and custom designed equipment and high level distributor of technology and equipment to the Motion Picture industry. Offering a wide range of products and services such as custom engineering, systems design, integration and installation, digital technology solutions for 3D, digital cinema, audio visual integration. Also turnkey FFE solutions for new construction and remodels through the Rydt Entertainment Systems Division, to include procurement, design, consulting, installation and project management.
• TECHNOLOGY •
6P Laser Projection:
Redefining 3D Cinema Redefining 3D cinema A sharp decline in 3D box office sales, especially in the domestic market, is raising concern in the cinema industry. What was heralded as an innovative and powerful platform for filmmakers, studios and exhibitors to create and showcase immersive and impactful 3D content, has failed to keep consumers interested, leading to a downward spiraling of 3D box office returns. One perspective on the problem lies on the content side, meaning that filmmakers are making films in 3D that were never intended for 3D or, worse still, they are just doing a poor job with 3D production in general. On this topic, Dreamworks Animation CEO Jeffrey Katzenberg went on record in a 2010 Variety interview condemning filmmakers and studios that “killed the goose that is delivering us golden eggs” through mass production of “terrible” 3D films. As a clear and unfortunate testament to his vision, the 3D box office take rates (vs. 2D) in the United States market since then have declined from 67 percent in 2009 to 42 percent in 2013.
Sharp decline in domestic 3D take rates for 3D films.
This is a serious problem, mainly because the 3D premium ticket price that benefits everyone in the industry – from studios through to exhibitors – is experiencing an equally sharp decline. However, to place the blame entirely on the shoulders of Hollywood studios would be unfair – technology suppliers, system integrators and exhibitors also need to take responsibility and understand the potential impacts that technology decisions have on creating and delivering the overall 3D experience.
What’s wrong with the 3D cinema experience?
A non-uniform image on a high gain silver screen.
3D cinema has been enabled by the mass adoption of digital cinema projectors. In converting screens to digital, installers generally design projection systems to achieve a brightness level of 14 fL on-screen in accordance with the Digital Cinema Initiatives (DCI) specification. However, equipment is typically specified assuming that all films are shown in 2D. A major problem arises because 3D equipment (various polarizers, wheels, glasses, etc.) effectively absorbs between 70-90 percent of the light, leaving only a small fraction of the
• TECHNOLOGY • 14 fL brightness. This means audiences struggle to discern the details making up the image; everything disappears into the background and colours appear unnatural. A direct analogy to watching a lowbrightness movie is reading in low-light conditions, complete with the accompanying headache and eyestrain. Making matters worse, most 3D systems need a high gain silver screen, featuring a brighter spot on the screen directly in front of the viewer, and rapidly deteriorating brightness on areas of the screen that are farther away. This is far from a natural and immersive experience. Until screen manufacturers develop uniform engineered surfaces that can retain light polarization, the only way to achieve natural and immersive 3D experiences is to use low gain white screens.
Stereopsis We also need to consider stereopsis. Stereopsis is the visual process that allows two eyes to see two different images that are slightly offset from one another. The human brain takes these two images, along with other critical cues, such as relative size and surface orientation, to form a single mental image, complete with accurate depth perception. These two images are normally seen simultaneously. However, with rare exceptions, 3D movies are shown by flashing left and right eye images sequentially through a single projection lens. This means the brain is receiving the left and right eye images at different times and is burdened with the additional task of correcting for temporal offset. This unnatural function, while not consciously perceptible by most people, contributes to the level of fatigue or occurrences of headaches among viewers and, in some cases, even causes nausea or motion sickness when viewing 3D content. The ideal approach is to present simultaneous and persistent images independently to both eyes, rather than trying to flash between them in rapid succession.
A technical solution It is well known that laser projection systems, along with the proper selection of efficient 3D equipment, can solve the 3D brightness problems on most screens. A public Christie laser projection demonstration in 2013 featured a single 72,000 lumen projector that was capable of 14 fL brightness on a 65 ft. wide, high gain silver screen using a RealD XL 3D system. This was a benchmark moment for the industry, as people were finally able to see a 3D movie at the proper brightness level. However, the system was still flashing between left and right eye images and was nearing peak brightness capabilities, so lighting up a larger screen would not have been possible. A relatively straightforward solution is to add a second projector to the system. This approach doubles the light output while providing naturally simultaneous images for both eyes. Modern computer visionbased alignment technology, such as that used in the Christie Duo system, can eliminate the chore of keeping dual projection systems perfectly aligned for cinema presentation purposes. Christie’s laser demonstration was also compromised by the fact that the 3D system in use required a high gain, non-uniform silver screen to maintain light polarization. Currently, there are really only two alternative 3D options using lower gain, white screen surfaces. One system uses shuttered glasses,
Colour filtering 3D glasses ensure the correct image is seen by each eye.
flashing between left and right eye images from a single projector, alternatively blocking each eye so it only sees its intended image. This approach, however, is very inefficient from a brightness perspective and is less than ideal due to issues with stereopsis, but some may judge the overall experience to be improved due to the uniformity of the image. The other solution available for lowgain white screens uses a technique known as colour-separation-based 3D. This approach takes advantage of the fact that projected images on the screen are created using a pixel-bypixel combination of red, green and blue (RGB) primary colours. Specifically designed glasses can filter out precise colour wavelengths of light from getting through to each individual eye. By generating images for one eye from a combination of RGB primaries (R1G1B1) while generating images for the other eye using a different combination of primaries (R2G2B2), the filter glasses can then be used to ensure that each eye only sees the correct image. This approach is used by Dolby Laboratories’ 3D system and is widely acknowledged as the best 3D platform for accurate colour reproduction and a naturally immersive, uniform 3D experience, especially if two projection heads are used for simultaneous left and right eye images. The Dolby 3D system has been available for several years now, however, a major drawback for lampbased systems is that the process of isolating two different sets of RGB primaries from the broad spectrum (white) xenon lamp is extremely inefficient, making the lowbrightness issue in large-screen auditoriums even worse. If this is the case, then surely we should combine the high-brightness capabilities of laser projection with the superior image quality of colourseparation-based 3D. Unfortunately, the solution is not that simple. Typical laser projection systems create light by combining a single set of RGB primary colours to create the image. This is known as 3-Primary July-August 2014
• TECHNOLOGY •
Why two heads are better than one? As an explicit warning, under no circumstances should an exhibitor consider a single-head 6P sequential 3D system. Not only does this type of system exhibit “flashing” artifacts on screen, it also suffers from extremely inefficient use of the lasers for colour-separation-based 3D (versus a dual-head system) and suboptimal performance for all other 2D and 3D system configurations (versus 3P). A buyer can easily be misled. For example, if a 6P laser projection is offered featuring 60,000 lumens of light output, then that specification is very likely the 2D light output only; the actual 3D light output would be less than 30,000 lumens after accounting for the alternate flashing or shuttering of each set of laser primary colours. Clearly, in this case, the technology would not be addressing the market need for brighter 3D nor would it be offering a compelling 2D solution, but merely taking advantage of the current market hype for 6P laser projection.
Implementing a 6P laser system can be achieved easily using two projection heads in a Christie Duo configuration.
(3P) laser projection, and it is the ideal solution for 2D projection in cinema and other industries. With 3P, however, there is simply no “light energy” at the secondary wavelengths to pick out of the light source for the second eye image. To create the colour-separated image for the second eye, you need to add three additional laser primary colours to the light source – creating something that is aptly called a 6-Primary (6P) laser system.
6P laser projection With a 6P laser projection system, the required wavelengths of light are generated right from the source with no light wasted or thrown away while isolating the specific colours for the separate left and right eye images. The result is that a 6P dual-head 3D system is almost twice as light efficient as the most efficient 3D system
available today – with the added benefit that it does not need a high gain, non-uniform silver screen. Also, implementing a 6P laser system can be achieved easily using two projection heads in a Christie Duo configuration, with each projection head designated as a leftor right-eye projector and separately connected to its own set of distinct RGB primary lasers. When contemplating a 6P dual-head 3D projection system, it is reasonable to consider system designs using only a single projection head since the extra head appears to add cost and complexity to the system. However, if you consider what is being accomplished with 6P laser, a dualhead system is the only available solution that makes any sense. The practical alternative for a high power cinema system is sequential flashing of the left and right eye images through a single projection head,
which is clearly not ideal based on the aforementioned issues with stereopsis. More importantly, though, is that a single-head 6P system is less than half as light efficient as a dual-head system that displays both left and right eye images simultaneously. To achieve sequential image display, a singlehead system is turning off or mechanically blocking either the R1G1B1 primaries or the R2G2B2 primaries on an alternating basis. This means each set of lasers is used less than 50 percent of the time when you account for switching and colour transient effects that need to be masked by absolute dark time. Hence, with a single-head 6P laser system, you will need at least twice as many lasers to achieve the same 3D light output as a dual-head 6P laser system. With the current cost of lasers far outweighing the cost of projection heads, this means that a single-head system will cost almost twice as much as a dual-head system to achieve the same 3D brightness.
6P laser projection – the future of cinema As with any new technology, early adopters can expect to pay a premium and may indeed witness significant price drops of similar product offerings during the early years of ownership. For that reason, it is essential that buyers carefully study the options available to them to make sure that whatever they buy today is both scalable and upgradable, such as the modular laser projection system architecture sold by Christie. 6P laser projection is absolutely the future of cinema and will someday become the mainstream source of projection system illumination. Christie and other industry voices strongly believe and expect that laser projection will raise the bar for all 3D screens, satisfying the market need and restoring the 3D box office to reflect the astonishing 3D experience that audiences can only get at their local movie theatre.
â€˘ TECHNOLOGY â€˘
World's First 4K Live Event National Theatre Live to present the world's first live 4K theatre broadcast, War Horse, working in partnership with Sony, Creative Broadcast Solutions, NEP Visions and Links Broadcast. For the first time ever, Sony is bringing The National Theatre's acclaimed stage production of 'War Horse' live in 4K to movie-goers in London's West End. NT Live and Sony collaborate in live 4K theatrical first In a world first, the National Theatre's acclaimed West End production of 'War Horse' was transmitted live in 4K directly to the Curzon Chelsea cinema on 27 February 2014.
The link-up marks the first time ever that a live theatrical event has been captured and projected to cinemagoers in 4K. National Theatre Live (NT Live) is the National Theatre's groundbreaking project to broadcast the best of
British theatre from the London stage to cinemas across the UK and around the world. Since its first performance at the National Theatre in 2007, 'War Horse' has become an international smash hit. Based on Michael Morpurgo's novel, 'War Horse' takes audiences on an extraordinary journey to the trenches of First World War France.
From London's West End to Chelsea, live by satellite Sony's F55 Super 35mm CineAlta cameras will be used to capture the Continued on Pg TW-42...
â€˘ TECHNOLOGY â€˘
The Never-Ending Trend of
Candy Floss Whenever we go to any park, mall or any picnic spot, there is one thing which we will definitely find everywhere which instantaneously catches our attention. Can you guess what it is? Let us give you a hint: it's an eatable thing that is very tasty, irresistible, made of sugar, and after eating it, you cannot stop yourself for taking few more bites of it, and more often than not, taking another packet of it. We're sure some of you must have guessed the answer by now. Yes, it is one of the most amazing and tasty food items one for which everybody has got a craving, right from a child to an elderly person. Everybody likes to have it, taste it and enjoy it. It is one the most favorite bites of our childhood, the Candy Floss (Cotton Candy). Although it has been a favorite bite of our childhood, we cannot ignore the fact that no matter how old we may have become, the time we see some candy floss anywhere, the kid inside us wants to run and grab a bite of it.
What Exactly is Candy Floss? Candy floss is an amazing snack that has been one of the most different and unique eatable items, made only and only of sugar and air. For those of you who do not know about spun sugar, spun sugar is nothing but sugar syrup which is hardened and drawn into filaments. It is used as decoration on sweet
dishes and is also a major ingredient of candy floss. "Candy Floss", also known as "Fairy Floss" in Australia,
Their machine melted the sugar that was put into it and forced air thereafter, which pushed sugar
was first discovered in Europe in the 18th century.
through a wire screen. This machine received amazing response from people who gathered there, and within no time, they gained popularity from the world over.
The Origin of the First Candy Floss Machine: During the 18th century, making spun sugar was an expensive and a labourintensive process. So it was beyond the reach of an average person to make spun sugar manually for longer time durations. Observing this, a dentist, William Morrison, and a confectioner, John Wharton, decided to invent a candy floss machine to ease the labourers tasks and to help them produce more candy floss with lesser efforts and reduced time and costs. They introduced their invention widely during World's Fair in 1904, at St. Louis, as "Fairy Floss".
Few years later in 1921, another dentist from New Orleans, Louisiana, Joseph Lascaux, developed a candy floss machine which was patented by him as "Cotton Candy Machine" - the name with which most of us know it in current time. During 1970s, automatic machines were developed by different companies which made the production and packaging of candy floss much easier.
â€˘ TECHNOLOGY â€˘
The Popularity of Candy Floss
The Semantics of Candy Floss Machines:
The automated machines helped candy floss makers to make and sell delicious and attractive candy floss in parks, malls, cinemas, beaches, and everywhere else. Due to the wide variety in the size of these machines, floss makers today can easily carry them while travelling to sell floss in famous and crowded places. Also, several floss making machines are often set up in almost every mall and cinema as people always love to have a quick bite of such tasty floss.
Automatic and advanced candy floss making machines usually consists of a bowl for sugar that is enclosed by a spinning head. Colored sugar is poured in the bowl and is melted by heaters. This melted sugar is then forced into tiny holes and floss, which resembles cotton, is built up on the border of a large bowl. This floss is continuously gathered by the operator by twirling it on a cone or using a stick. With the introduction of highly advanced machines that have the latest technology and features, the process of making such mouth watering candy floss has become an easy and fast one. These machines not just maintain the highest levels of efficiency, but are also completely hygienic and optimal to use.
These days, candy floss is made available in different flavors and colours like pink, chocolate, orange, white, blue, green, yellow, and so on. Various kinds of flavours that are added in floss in many places today include mint, cinnamon, vanilla, grape, raspberry, chocolate, strawberry, and cherry etc. Its different colours and variety in tastes contributes greatly to generate rapid sales and appeal masses belonging to all sections of the society right from kids and teenagers, to elderly people who love to relish it. What's more is that candy floss isn't all about just taste and softness. Something that most of us are unaware about is that candy floss also contains several medical values. Researchers in various countries have found out that having candy floss can aid a lot in healing and growth of human tissues.
Renowned manufacturer: Gold Medal Products, is one company that has an experience of over 80 years of being in the manufacturing industry. They have a high focus on research and development and have successfully produced various machines and
equipments which have proved highly beneficial to people engaged in development of various products for specialty food machines and supplies. With its vast sale support system, and dedicated employee strength it has been highly successful in developing various quality products. Gold Medal Products is also a manufacturer of one of the finest machines for producing candy floss. Their machine is the only floss machine in the world having UL & UL Sanitation Listing. It has latest features and technology such as quick-release floss cap and floaters, new designs of cabinets and many more (patents for which have also been applied for by the company). The best features of the machine are quick release floss caps and floaters which makes the process of producing floss quicker and easier, thus saving time and costs. The floaters of the machine are rubber molded which are easily adjustable for airlift which makes it very easy to use it in all climates. Even the cleaning of machine and tools is very simple as its caps are spring loaded which makes it quite easy to assemble and dissemble the various parts of the machine. Apart from the above, the cabinet has been designed in the most innovative ways by integrating the designs of various existing models. Its main features are newly-styled lock and go, latest and improved sugar seal, easy cord replacement that contains IEC power connector, and front door which can be easily flipped for easy cleaning.
â€˘ BUSINESS TREND â€˘
New Way of Marketing! Cineworld, the leading cinema group in the UK and Ireland operates 82 cinemas in the UK and Ireland of which 77 are multiplex sites with 5 screens or more. Cineworld also acquired the cinema at The O2 in 2010 and upgraded the 24.4 meter screen, making it the largest 3D screen in Europe. In 2011, Cineworld opened its first IMAX screen at Cineworld Edinburgh and now has 9 IMAX screens nationwide, with a further 6 due to open in 2014. Cineworld keeps innovating new ways of marketing for better branding and revenue. Celebrate Your 18th Birthday With Cineworld Stevenage Cineworld Stevenage celebrated a milestone birthday as it turned 18 on the 10th July. To commemorate the occasion, the cinema invited fellow locals, also turning 18 this July, to join in the celebration by offering a free pair of tickets to see a film in the new IMAX cinema. The offer was available to the first one hundred birthday boys and girls to come forward with valid passports or driving licenses. The new IMAX screen, which opens its doors on Cineworld Stevenage's
birthday, offered visitors a uniquely immersive cinematic experience, allowing them to enjoy the biggest blockbusters - including Transformers: Age of Extinction: An IMAX 3D Experience - like never before. With ground-breaking, crystal-clear digital projection, cutting-edge sound technology and a curved screen, the IMAX Experience will allow audiences the opportunity to watch the latest film releases in a totally new way. Georgina Jones, General Manager at Cineworld Stevenage comments, "We've had a fantastic 18 years at Cineworld Stevenage and we're excited to be celebrating our birthday
â€˘ BUSINESS TREND â€˘ with the introduction of an IMAX cinema. As turning 18 is such a milestone, we wanted to offer something fun for locals celebrating at the same time. What better way to do this than introduce them to a new bigger, better and more heightened cinematic experience now available at Cineworld Stevenage"
Transformers Performers Surprise Fans in Cineworld Takeover To celebrate the arrival of the much anticipated Transformers: Age of Extinction film, Cineworld put on a surprise performance for eager fans ahead of the first screening, with two oversized Transformers taking over The O2 Cineworld. The unexpected appearance, which included the Optimus Prime and Bumblebee characters, astounded and amazed cinema-goers who had booked to see the latest offering from the popular franchise. The seven foot tall Transformers were sat in the screen waiting for the Cineworld customers to enter and after the initial surprise, they posed for photos with fans and made full use of the cinema's facilities as they attempted to help themselves to pop-corn, sweets and ice-cream! David Spence, Cineworld O2 General Manager, comments: "We were delighted to have been able to provide such a special experience for Transformers fans. At Cineworld we believe it is important to give our customers that bit extra - and I think we certainly achieved that today! Transformers: Age of Extinction is one of the biggest films this summer and we're expecting a high turnout with fans keen to see the latest instalment." A moviegoer added: "It was such a shock to see the Transformers in the cinema! My son is a massive Transformers fan and this really made his day - he hasn't been able to stop smiling and I'm sure he's going to be bragging in school for days about how he met Optimus Prime!"
• INSTALLS •
Although there have been various centenary celebrations of a number of historic cinemas in the UK, the inevitable consequence of the first wave of cinema building that occurred in the first decade of the twentieth century, only one historic site, the Regent Street Polytechnic, can claim to have been the very first commercial cinema in the UK.
A proud association Peter Hort, Course Director of the Film & Television Production Course at the University of Westminster stood on the stage of the Princess Anne Theatre at BAFTA this year, at their annual Graduation Screening, and proudly stated that amongst all the universities of the world his must be the one with the longest direct association with cinema. The impressive Grade 2 listed building at 309 Regent Street, in close proximity to Oxford Circus and the BBC’s HQ in London, Broadcasting House, opened in 1838 as The Polytechnic Institute. Later known as Regent Street Polytechnic it changed its name to Polytechnic of Central
Mark Trompeteler recently visited The Polytechnic Building, in Regent Street, London, to report on the birthplace of British cinema and plans to refurbish it and develop it. London (PCL) in 1970 as part of a national initiative for 30 new polytechnics to be formed across the UK. In 1992, PCL gained university status and was renamed the University of Westminster. Throughout the history of education at Regent Street, there has been much association with and pioneering work in photographic and film education at professional levels that could easily be the subject of another article. Key to the history of British cinema exhibition however, is the fact that commercial cinema exhibition started here in February 1896.
A pivotal figure Peter Hort’s predecessor as Course Director of the Film Degree programme at
Westminster was Joost Hunningher, a pivotal figure in film education at Westminster. Many Cinema Technology readers may recall Joost as a significant figure behind two important early digital cinema conferences held in London a decade ago. Some readers may also still have vivid memories of the Cinema 100 celebrations held right across the UK in 1996 to mark one hundred years of cinema in the UK. It was Joost who researched and wrote an important article entitled “Premiere on Regent Street” that sheds a lot of light on the commencement of the first
• INSTALLS • hall at 309 Regent Street was a suitable venue to premiere their Cinematographe projected film exhibition system to the British public. They had seen the Edison Kinetoscope in action as early as 1894 and decided that a projector with an intermittent motion system based on the mechanical action of a sewing machine would be a preferable idea.
regular commercial public exhibition of films at The Polytechnic in 1896. In visiting Regent Street to look at the birthplace of British cinema, Hunningher’s article provides much of the important background information that underlines the significance of this site.
Beginnings Several inventors had successfully filmed and projected photographic moving pictures prior to 1896 in the UK. On October 14, 1888, Louis Le Prince used a single-lens motion picture camera to film Roundhay Garden Scene. He exhibited his first films in the Whitley factory in Hunslet, Leeds and in Oakwood Grange, the Whitley home in Roundhay, Leeds, but they were never shown or distributed to the general public. On 21 June 1889, William Friese-Greene was issued with patent no. 10131 for his ‘chronophotographic’ camera. FrieseGreene gave a public demonstration in 1890 but the low frame rate (10 fps) combined with the device’s apparent unreliability made an unfavourable impression. The humorous magazine Fun reported on both 8 and 10 January 1895, that
Edison’s single viewer motion picture devices, Kinetoscopes, were on view at 432 Strand, London. The installation and exact opening date of this venue for non-projected motion picture viewing in London is not known, but it would have been in the preceding year. Birt Acres started shooting short film subjects with a camera produced by Robert Paul, at Barnet, Hertfordshire, from February / March 1895 onwards with Acres demonstrating his Kinectic Lantern to Lyonsdown Photographic Society, Barnet, on 10 January 1896 and then to the Royal Photographic Society, Hanover Square, London, on 14 January 1896. Robert Paul demonstrated his Theatrograph at Finsbury Technical College, London, on 20 February 1896 and at the Royal Institution, Albermarle Street, London, on 28 February 1896. What makes the Lumière brothers showing of motion pictures using their Cinematographe at The Polytechnic, Regent Street from 21 February 1896 onwards so significant is that they were the first regular public commercial showings of projected motion picture films in the UK and hence the actual birth date of commercial cinema exhibition in Britain.
Britain’s first cinema manager at Regent Street The Lumière brothers, Auguste and Louis were in their early thirties, and together with their father, Antoine, had decided that the auditorium /
The world debut of the Lumières’ Cinematographe took place in a hall in the Boulevard Capucines, Paris, in late December 1895, with a subsequent exhibition of films in Lyon in January 1896. The bothers and their father had decided to put the exhibition of their Cinematographe and first film screenings in London under the management of their friend, Felicien Trewey. He was a juggler and shadowgraphist, had a knowledge of popular entertainment and had appeared in a number of the Lumières’ first ever short films that they had shot in 1895. Trewey had also been with the Lumières in Lyon in January 1896 and was about to become Britain’s first ever cinema manager. The choice of the Regent Street venue had probably had a lot to do with its reputation as a leading national venue for the presentation of new inventions, scientific devices, theatrical and illusionist demonstrations, which it had regularly presented to the public for many previous years. This together with its reputation for technical education and its very central London location made it an ideal venue.
Enter an early cinema technician The press night took place in The Great Hall on the 20 February with a report that Trewey was operating the projector as well as acting as manager for the event. As is the case with today’s technology, illumination and other quality issues were paramount and were allegedly troubling Trewey. Hunningher’s article indicates that the press were July-August 2014
• INSTALLS • kept waiting before being admitted to the hall. The article speculates that he was likely to be making last minute attempts to maximise illumination and picture quality on the screen. The article indicates that a Polytechnic electrician, Matt Raymond, was adapting the power supply from 10 amps to 15 at the last possible opportunity, possibly even attempting 30 amps, as well as experimenting with adjustments to the water condenser to concentrate the light from the arc lamp. Trewey praised the work of Raymond to his colleagues. The screen size of this first screening was a tiny six foot by four and half feet with a throw of sixty ft. The very first film screenings were very short in length with verbal introductions and explanations in between the various very short films. During these verbal descriptions and introductions, Matt Raymond, who became the projectionist, was able to changeover the very short film reels. Projecting at 15 fps these fifty foot early Lumière films barely lasted thirty seconds on the screen. Despite initial teething problems, there were some very good audience responses to these early screenings. Following the press night the first commercial public showing of projected moving pictures in the UK took place the day after, on 21st February 1896. Fifty four people bought either a sixpenny or shilling ticket to see the show which exceeded the thirty two patron size audience that they had for their first ever show in Paris. The first film shows consisted of such short subjects as “Leaving the Factory”, “Arrival of a Train in a Station”, “Spinning Plates”, “Blacksmith at Work” and “Game of Cards”. The auditorium for these early screenings was rapidly changed from The Great Hall to the smaller Marlborough Hall or room. This is likely to have been for audience size, Illumination and / or electricity supply reasons. The rapid change of venue also demonstrated just how portable the
Lumières’ Cinematographe equipment was and that you could use the same projection equipment for different shows in different locations at different times.
The Empire, Leicester Square This portability facilitated Trewey demonstrating the film show to the management of The Empire Theatre of Varieties in Leicester Square on 28 February. Lumière Cinematographe screenings became part of the variety show at The Empire in March 1896. Hunningher’s article details “If there was music some of the time or never is another unsolved question. The same is true of the running order of the films, which probably varied quite considerably between days and perhaps even between performances”. It appears that sometimes the audience could be pleased by being provided by an encore of a particular item or even having it projected backwards. By November 1896, Empire seats were being booked by patrons ten weeks in advance – such was the success of a variety show that included moving pictures as part of it.
What happened next? Regular matinee performances of the film shows continued at The Polytechnic until July 1896 whilst
Lumière screenings at The Empire Leicester Square continued for 18 months. It seems that the Lumière screenings in London became financially rewarding both for the Lumière brothers and Trewey. The Lumières took 50% of the box office gross for providing the equipment and the films. Trewey, the first ever UK cinema manager, returned to France and bought a circus. The Lumière brothers continued to innovate in the field of cinema and photography and their innovations included the development of a giant curved screen system for the 1900 World’s Fair and creating a photographic colour process called The Autochrome. Matt Raymond, the polytechnic’s electrician, went on to become a precursor to or an early version of a Billy Bell, Dion Hanson, Barry Wright or Steffan Laugharne going on to specialise in cinema projection, installing projectors and organising screenings of films in a number of European countries in these early years of cinema. By 21 March 1896, Birt Acres had installed a rival very early moving picture cinema at 2 Piccadilly Mansions, located at the junction of Shaftesbury Avenue and Piccadilly Circus called the Kineopticon. It showed a series of short silent films, but it was destroyed by fire shortly after opening. The Lumières’ Cinematographe whilst grasping the importance of projection of moving pictures to multiple members of an audience, as opposed to Edison’s Kinetoscope single viewer approach, used a film format with round sprocket holes which was superseded with the adoption of the film format that Edison used, and what eventually became the world wide Academy format for film.
The Cameo Poly cinema The Polytechnic Building was reconstructed in 1911 and within the new building was the Marlborough Hall regularly used for film shows with seating on one level. In 1923, it was re-fitted with 630 seats at both stalls and circle levels and re-opened
• INSTALLS • as the Polytechnic Theatre. Four years later, it underwent further changes and it re-opened on 3 March 1927 with the film Chang, now with a seating capacity of 610. In 1936 a Compton 2 manual / 6 rank theatre organ was installed. It has the organ chamber at the rear of the stage and is still in the building and playable today. After about a year long closure, brought on by the onset of war, it reopened in November 1940 under the new management of Clavering & Rose who added it to their small circuit of Cameo theatres. At first it was the Cameo News Theatre, then from 15 November 1947 it became the Cameo Continental Cinema, specialising in foreign films with some mainstream films too. Continuing with a specialisation in world cinema from 9 May 1952 it was re-named Cameo-Polytechnic and began to run up-market foreign films, a programming policy which continued for many years. During this period, it was also referred to as the Cameo-Poly Cinema and also became the first cinema in the UK to show an “X” certificate film. It was taken over by the Classic Cinemas chain in September 1967 and renamed Classic-Poly Cinema from April 1972, but programming was becoming difficult for art house cinemas and it was closed on
.... Skillset are very worried at the loss of skills that has been happening with the switch from 35mm film projection to digital – and that all the skills that are associated all around the concept of presentation are being lost....
10 February 1974. It was taken over by impressario Larry Parnes who reopened it as a ‘live’ theatre known as the Regent Theatre, an enterprise that lasted for four years. It reverted back to being a full-time cinema known as the Regent-Poly Cinema from December 1978, was re-named Classic-Poly Cinema again from 11 January 1979 and closed on 12 April 1980 when the use of the auditorium reverted back to the university.
Today and the future Today the auditorium at Regent Street is used as a lecture hall, an examination hall, and as a venue for special events, lectures, conferences and cinema-related events. The projection box (below right), at the
rear of the circle, is stripped of all projection equipment but the university has important plans to re-develop and re-furbish the venue and reconnect it back with its importance as the very unique site that it is in the history of British cinema. “It’s a simple enough idea: to restore one of the most important cinemas in Britain to its former glory, evoking a 19th. Century heritage, while looking to the future. To create a working cinema and state-of-the-art auditorium, a place of learning, cultural exchange and exhibitions, and a landmark venue for the British film industry.” – declares the promotional pamphlet for the project. “ Film students will showcase their work, it will be a place to see quality world cinema and the best repertory programming, a cinema where our restored 1936 Compton Organ will once again accompany the stars of the silent screen.” In a brief conversation I had with Fran Sponsler, the university’s development officer, and Peter Hort, they gave me a more detailed idea of the plans for the mixed use vision of a landmark cinema venue and university facility. Peter informed me - “Having a current working cinema within the university environment will be a fantastic opportunity for students at both BA and MA levels to start exploring the topics of exhibition and distribution in a way that isn’t totally theoretical.“ He also went on to tell me - “ With respect to projection - I have been talking to Skillset and they told me they are very worried at the loss of skills that has been happening with the switch from 35mm film projection to digital – and that all the skills that are associated all around the concept of presentation are being lost. They are very interested in that being a part of any programme that is being taught. Another crossover possibility for this venue, which is a possibility, and it remains to be seen how far it will go, is for it to be a focus for academic research of various sorts. There is discussion on whether or not it could be set up as a facility for a reference cinema, which would mean it would July-August 2014
• INSTALLS • have an additional projection point for the correct screen height for that. It would be very interesting to see if there could be a 200 - 250 seat central London cinema that had, say, some 150 reference seats which could become very interesting as a catalyst for collaboration with the industry and a whole direction of a more scientific research programme. Media Arts courses within the Communications cluster are often concerned with audience research and again the existence of a working cinema, with that commercial aspect, opens up all kinds of additional possibilities.” Having secured funding from The Heritage Lottery Fund, The Quintin Hogg Trust, and other funding sources, the redevelopment project has now approximately two thirds of
the 6.1 million pound budget that it needs. The budget is not only for the build and delivery of the project, but also includes funding for a three year period of outreach, heritage and education programme associated with the new venue. It still needs to find additional funds and corporate involvement, anything from an individual’s contribution and naming of an individual seat through to a major donor’s or sponsor’s name being involved with the venue’s name. To find out more about the project, and also see how you can contribute or get involved at either an individual or corporate level visiting the dedicated website is a good place to start: www.birthplaceofcinema.com Mark Trompeteler email@example.com
References “Premiere on Regent Street” by Joost Hunningher, from “Cinema: The Beginnings and The Future”, Edited by Christopher Williams, University of Westminster Press, 1996. www.victorian-cinema.net www.cinematreasures.org All Contemporary Photographs by the Author. With thanks to Fran Sponsler, Peter Hort, and Joost Hunningher at the University of Westminster. (The author Jim Slater is the Editor of Cinema Technology magazine, the specialist publication for Cinema Technical Information. He can be reached at firstname.lastname@example.org. To subscribe Cinema Technology magazine at www.cinematechnology magazine.com/subscribe.html)
...Continued from Pg TW-33
performance at the New London Theatre in Drury Lane under the direction of NEP Visions - Sony and NT Live's OB partner for the event. 4K video signals will be mixed by Sony's live production team and NEP Visions at the theatre. They will then be transmitted via live uplink to a dish on the roof of the 713-seat Curzon Chelsea cinema, with the assistance of satellite services specialists Links Broadcast. Decoded 4K pictures will be fed directly to the the Curzon Chelsea
and projected live with 4K resolution. With four times the detail of 2K or conventional HD television pictures, projection in Sony 4K brings cinema audiences unmatched levels of immersive detail and realism.
A landmark in event cinema The performance will be offered to cinemas as a 4K DCP (Digital Cinema Package) for 'encore' screenings and future theatrical presentation. "This is definitely a landmark in event cinema", says Sony Digital
Cinema Premium Content Executive John Bullen. "We're delighted to be working alongside NT Live on this ground-breaking project that showcases the possibilities for engaging cinema audiences with alternative content. With Sony 4K it's like being right there on stage at a live performance. And that's a tremendously powerful tool for cinema operators to offer their customers something that they simply can't experience anywhere else."
22-26 September 2014 St. Petersburg, Russia
Kino Expo 2014, in its 16th year will open its door to the International Convention and Trade Fair to its patrons from 22nd to 26th September in St. Petersburg, Russia. Kino Expo is a major annual international cinema industry convention and trade fair, with the focus on the markets of 15 countries. Kino Expo is the gateway to world's fastest growing cinema and entertainment industry markets of Russia and neighbouring countries. If a company aims at accessing these multimillion markets, Kino Expo is the key instrument of success. Taking part in Kino Expo is the most effective way to present and market the company's products and/or services catered to all sectors of the cinema industry film exhibition, distribution, production, and also to entertainment segment of the shopping malls, from all regions of Russia and countries of the former USSR.
Exhibitor Advantage: •
Present and market products and/or services directly to owners and top managers of all the cinema circuits and individual cinemas, film distributors, film and TV production companies, shopping malls' operators and etc., reaching 100% awareness of your company's brand name, products and services among these targeted audiences.
Find new clients in cinema industry and commercial real estate.
Establish new business contacts and meet existing customers.
Gain access to the important insider information.
Cinema exhibitors from all regions of Russia and neighbouring countries, both chains and individual cinemas; representatives of the largest international cinema chains.
Representatives of international motion picture industry.
Individual investors and companies, which plan establishing new cinemas. Shopping malls' operators, developers, commercial real estate professionals.
Distributors of films and other audiovisual content, for theatrical, DVD and TV release, rights' owners, both domestic and international.
Representatives of TV channels from all regions of Russia and the countries of the former USSR.
Film production and post production professionals,
EVENT CALENDER representatives of film studios, film and TV production companies, producers, artists.
2014 25-27 JULY
Individual investors and companies, that plan establishing new cinemas. Shopping malls' operators, developers, commercial real estate professionals.
Cinema equipment manufacturers and suppliers, service providers for film exhibition, production and distribution. Entertainment systems' and technologies' manufacturers and suppliers.
CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in
D-Cinema technologies, and services for film exhibition, distribution and production. •
Screenings of new blockbuster films and upcoming product presentations by major studios, Russian and international film companies, prior to Russian release and special sponsored events.
Conferences and seminars, dedicated to film exhibition, distribution and production business issues, presentations of new products. Business development seminar, hosted by The Coca-Cola Company.
National Cinema Industry Awards Ceremony.
All Industry Opening Reception.
22-26 SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
12-16 OCTOBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
SHOWEAST, FLORIDA, USA www.showeast.com
Program Features: •
9-11 DECEMBER CINEASIA, HONG KONG www.cineasia.com
2015 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com
20-23 APRIL CAESARS PALACE, LAS VEGAS, USA www.cinemacon.com
9-11 MAY CHINA THEATER & CINEMA GUANGZHOU www.gtcff.com
22-25 JUNE CINEEUROPE BARCELONA, SPAIN www.cineeurope.net
Federal and regional government officials, who oversee film production, distribution and exhibition. Mass media representatives.
16th international trade fair, with extensive foreign participation, showcasing the latest in motion picture industry equipment and services, entertainment systems and technologies,
TheatreWorld at Kino Expo: TheatreWorld is the media partner for Kino Expo. TheatreWorld magazine will be present at the publication bin and distributed to the delegates.
16-19 June 2014 Barcelona, Spain
Held from 16th to 19th June 2014 at El Centro De Convenciones Internacional De Barcelona, Spain, the convention offered a unique opportunity to interact with stakeholders from the sector and included a trade-show of latest products, services and industry trends, an innovative conference programmed of highest relevance to European exhibitors and numerous screenings of the most exciting upcoming films. CineEurope, the official annual convention of UNIC and the premier gettogether of the cinema exhibition community in Europe and organised in collaboration with Prometheus Global Media (PGM) ended with a remarkable response from the Exhibitors and Attendees. The opening day started with the seminar 'Engaging Audiences'
TheatreWorld at the PubBin
with Mark de Quervain of Action Marketing Works, Vanessa Bakewell of Facebook, Andy Edge of Odeon UK, Giles Hadman of Google EMEA and David Smallwood of PayPal as the panelists. The discussion was about the exhibitors across Europe
continuously trying to create excitement around the cinemagoing experience and reach out to audiences in innovative ways. The panel explored the key trends in marketing and communications and examined how social networking, mobile communications, data analytics, payment services and further innovations in information technology continue to transform audience engagement practices across cinema exhibition. Later that day, was the European Exhibitor Roundtable discussion with leading cinema CEOs focusing on current trends and business strategies in an increasingly international and now almost fully digitised cinema exhibition landscape. Key topics were programming strategies, maintaining and growing audiences, maximizing returns on digital investment, operating in economically uncertain times,
and many other. The panel had Michael Gubbins of SampoMedia as moderator, Fernando Evole of Yelmo Cines, Paul Heth of Karo Film, Nico Simon of Utopia and John Tonnes of Nordisk Film Cinemas. Day two started with Reasons to Believe, The Coca-Cola Company Seminar which explain the way Coca-Cola uses storytelling to touch the hearts of consumers and make people fall in love with the brands, with a particular focus on the role of digital and social media. This year most of them spoke about the immersive sound and cinema surround loudspeaker mounting for immersive sound
application. Followed by seminars on the future of big screen, digital delivery, etc. CineEurope had an exciting lineup of movies for summer attractions: DreamWorks Pictures' The HundredFoot Journey, Warner Bros. Pictures International's Into The Storm presented in Dolby Atmos, and many more screens. The show concluded on June 19 with a celebratory awards luncheon. CineEurope presented its 2014
Rentrak's International Box Office Achievement Award was presented to Warner Bros. Pictures Releasing International for The Hobbit:The Desolation of Smaug, CineEurope's Independent Film Award was presented to Constantin Film and Alan McNair of Vue Entertainment received International Exhibitor of the Year Award. It was also concluded that the next CineEurope will be held at the same venue from 22-25 June 2015.
The Nightlight - Rob Lucas
entertainworld Located just 40 miles south of Cleveland, the city of Akron, Ohio has a population of roughly 200,000 people, but has lacked a home for independent, foreign and revival films for many years. Now a group of filmmakers, graphics designers and software engineers have finally opened a micro-cinema in their hometown with the goal of bringing these films to the big screen. The Nightlight, their 50-seat theater, opened on July 1, 2014 and is just beginning to serve an audience eager for alternatives to multiplex cinemas. Part of what sets the theater apart from major
movie houses is the fact that it
Akron Film+Pixel began when
is operated by the non-profit
Rob Lucas (the author of this
organization Akron Film+Pixel,
article and the Public Relations
rather than a for-profit
Director for the organization)
corporation, which gives them
began showing movies in the
the ability to apply for grant
University of Akron student
funding and other arts support.
center under the name the
Akron Independent Film Festival in 2002. What began as one night of locally made movies each year grew into an annual weekend of programming and then eventually monthly screenings, filmmaking contests, discussion
Kickstarter campaign. The organization hired architect Mart T. O'Connor, a former Ohioan who attended McGill University and Pratt Institute, and specializes in designing small theater projects. O'Connor, along with
members of Akron Film+Pixel, selected a location in a dense arts district that includes the Akron Art Museum, the AkronSummit County Public Library and the art galleries in Summit Art Space, along with numerous restaurants and local
groups and workshops. While the members of Akron Film+Pixel may have changed over the years, one thing has stayed the same: People from Akron continue to show their love of independent movies. In 2013, Akron Film+Pixel received a key grant from the John S. and James L. Knight Foundation to build a microcinema in downtown Akron. Several other grants followed along with a successful $21,000
Steve Felix Director - Akron Film+Pixel
entertainworld boutiques just around the
alternative cinema culture
also a lounge area for pre or
corner from the theater.
post-film socializing and
"We would like The Nightlight
Demolition began in the space
to be just part of an entire day
in early 2014, but even after
or evening in downtown
construction was complete, it
Akron," said Steve Felix,
was up to the members of
Director of The Nightlight.
Akron Film+Pixel to paint and
"There are a lot of fun things
decorate. After many late nights
"One of the top requests from
to experience in the
of painting and eating cheap
our Akron Film Festival
neighborhood and we are glad
burritos, The Nightlight opened
attendees was snacks, and a
to be part of it all."
to the public on July 1, 2014
wide variety of them," said
with the film Only Lovers Left
Felix. "We want to serve what
Alive, the most recent movie by
viewers are hungry for, so we
Akron-native Jim Jarmusch.
have spent a lot of time
Members of Akron Film+Pixel studied several successful American theaters such as Cinefamily in Los Angeles, California and O Cinema in Miami, Florida, to find the scale and methods through which it's feasible to keep
special events. It also includes an area for local artwork, such as the current exhibit by Cleveland filmmaker and photographer Robert Banks.
curating exciting foods and
Food and Beverage
beverages sourced from the
O'Connor designed a space that
could not only accommodate a small crowd for movies, but
Many of those snacks include cupcakes from a local bakery,
entertainworld ice cream from a local
Cory Sheldon. "The projection
16-foot screen make for a
creamery and, of course locally
had to be cinema-grade and
the sound would have to tear
The Nightlight was able to procure a liquor license and is able to serve beer and mixed drinks every night. Each film exhibited has a corresponding cocktail, such as the "Miller's Comet," a vodka-based drink
the roof off the building. I think if we have anything less then viewers would simply attend another theater and walk away with low expectations of indie cinemas and indie films."
The eight-speaker sound system provides full 7.1 surround and was installed and calibrated by audio professionals. It is powered by four separate amps and, like the projector and lights, can be controlled remotely by the staff with an
with a scoop of vanilla ice
The Nightlight's access to the
app that can be used on most
cream, influenced by the new
latest films is partially due to
portable devices such as an
American science fiction thriller
its investment in a "DCI
iPhone or iPad.
Compliant" Christie digital cinema projector, which meets
a standard of excellent
The Nightlight programs first-
"From the very beginning we
brightness and color set by a
run films from studio indie
knew we wanted our audiences
coalition of studios for theater
labels such as Fox Searchlight,
to have a top-notch viewing
use. Although it's a 2k
The Weinstein Company and
experience," said Nightlight co-
projector, the bulb's power and
Sony Pictures Classics that
designer and staff member
the throwing distance from the
normally wouldn't screen
entertainworld within forty miles of Akron.
Nightlight has been suggesting
the Akron Film Festival, locally-
The theater is open from
that customers purchase their
made film premieres,
Tuesday through Sunday, with
tickets online in advance.
filmmaking contests and more.
Although only in their third
"When I first started showing
week of operation, the
movies during graduate school
organization is testing out
my goal was to give local
midnight screenings and hope
filmmakers a place to show
So far audience reactions have
to have a variety of special
their movies and little exposure
been enthusiastic with almost
events in the future, such as
to viewers and the media,"
every 7 p.m. screening selling
their annual Halloween
out before show time. Because
program the Freakishly Short
sellouts are so common The
Animation Festival, reviving
an average of two screenings a day. Each film typically runs for 1-2 weeks, but there are exceptions.
About the Author In 2002 Rob Lucas founded the Akron Film Festival as a graduate student. Several years later he helped develop the organization into monthly film programs and then into The Nightlight Cinema. He has a B.A. and an M.A. in Communication from the University of Akron. He currently works as the managing editor for the book publisher Gray & Company. In his spare time he enjoys making movies and recently traveled to France where his short documentary Stella Walsh was part of the Short Film Corner at the 2014 Festival de Cannes.
Photo courtesy: Rob Lucas, Rob Vaughn and Jennifer Court
"Now that we have our own single-screen cinema we can hopefully continue that goal."
F U T U R E
R E L E A S E S
A glimpse of movies coming soonâ€Ś Deliver Us From Evil
And So It Goes
Production Screen Gems
Director Scott Derrickson
Director Rob Reiner
Starring Eric Bana, Edgar Ramirez
Starring Michael Douglas, Diane Keaton
Genre Drama, Romance
The Maze Runner
Earth to Echo Production Relativity Media
Production 20th Century Fox
Director Dave Green
Director Wes Ball
Starring Teo Halm, Brian "Astro" Bradley
Starring Dylan O'Brien, Thomas Sangster
Genre Adventure, Sci-Fi
Genre Action, Adventure
Planes: Fire & Rescue Production New Line Cinema
Production Walt Disney
Director Ben Falcone
Director Bobs Gannaway
Starring Melissa McCarthy, Susan Sarandon
Starring Dane Cook, Julie Bowen
F U T U R E The Purge: Anarchy
Production MGM, Paramount
Director James DeMonaco
Director Brett Ratner
Starring Frank Grillo, Michael K. Williams
Starring Dwayne Johnson, Ian McShane
Genre Action, Fantasy
Lucy Production Columbia Pictures
Production Universal Pictures
Director Jake Kasdan
Director Luc Besson
Starring Cameron Diaz, Jason Segel
Starring Scarlett Johansson, Morgan Freeman
Genre Action, Thriller
The Fluffy Movie
My Man is a Loser
Production Open Road Films
Director Manny Rodriguez
Director Mike Young
Starring Gabriel "Fluffy" Iglesias
Starring Michael Rapaport, Bryan Callen
Step Up All In
Production Universal Pictures
R E L E A S E S
Calvary Production Summit
Production Fox Searchlight
Director Trish Sie
Director John Michael
Starring Alyson Stoner, Briana Evigan
Starring Brendan Gleeson, Chris O'Dowd
Genre Music, Romance
Genre Comedy, Drama
F U T U R E
R E L E A S E S Teenage Mutant Ninja Turtles
Get on Up Production Universal Pictures
Director Tate Taylor
Starring Chadwick Boseman, Viola Davis
Starring Megan Fox, Alan Ritchson
Genre Drama, Musical
Genre Action, Adventure
Guardians of the Galaxy
Let's Be Cops
Production Walt Disney
Production 20th Century Fox
Director James Gunn
Director Luke Greenfield
Starring Chris Pratt, Zoe Saldana
Starring Damon Wayans Jr., Jake Johnson
Genre Action, Adventure
Genre Action, Comedy
The Hundred-Foot Journey
As Above, So Below
Director Lasse Hallstrรถm
Director John Erick Dowdle
Starring Helen Mirren, Manish Dayal
Starring Perdita Weeks, Ben Feldman
Genre Comedy, Drama
Genre Psychologial Thriller
The Expendables 3
Into the Storm Production New Line Cinema
Director Steven Quale
Director Patrick Hughes
Starring Richard Armitage, Sarah Wayne
Starring Sylvester Stallone, Jason Statham
Genre Action, Thriller
Genre Action, Thriller
F U T U R E
R E L E A S E S
It's Entertainment Production The Weinstein
Production Tips Music Films
Director Phillip Noyce
Director Sajid, Farhad
Starring Jeff Bridges, Meryl Streep
Starring Akshay Kumar, Tamannaah Bhatia
Genre Drama, Sci-Fi
Frank Miller's Sin City: A Dame to Kill For
Production Dimension Films
Director Robert Rodriguez
Director Rohit Shetty
Starring Mickey Rourke, Jessica Alba
Starring Ajay Devgn, Kareena Kapoor
Genre Action, Crime
Kick Production UTV Motion
Production Yash Raj Films
Director Sajid Nadiadwala
Director Pradeep Sarkar
Starring Salman Khan, Jacqueline Fernandez
Starring Rani Mukerji, Jishu Sengupta Genre Action, Thriller
Genre Romance, Action
Chaarfutiya Chhokare Production Maxor Movies
Production Anand Kumar Pro.
Director Manish Harishankar
Director Anand Kumar
Starring Soha Ali Khan, Harsh Mayar Genre Social Thriller
Starring Suniel Shetty, Akhil Kapur Genre Drama, Action
Published on Aug 1, 2014
Published on Aug 1, 2014
TheatreWorld is a guide to the cinema exhibition industry and technical design of a movie theatre published by Network208. TheatreWorld is t...