Page 1

Value -

150 (US$ 15)


Industry experts believe that what happens in

Issue # 65 September-October 2014

America eventually impacts and is soon witnessed in the rest of the world, be it sound or visual. The exhibitors are discussing and deliberating to invest on two things - Laser Projection and Immersive Sound. Both of which came in a very lesser span of time than its previous update and of course, three times expensive over the previous version. Immersive Sound is now getting installed to some extent or more in all countries and Laser Projection continues to be a dream for some. The 4K projectors are functioning robustly and we see lots of shipping happening across the globe. It might be the 4K trend for next few months until the laser gets cheaper. This season we did not witness any new products for cinema but yes the world was waiting for iPhone 6 and it has been launched and accepted successfully in the market with a bigger screen. With the arrival of iPhone 6, we hope the new iOS8 emerges as the trend setter for all new cinema apps. The Russian and CIS region’s biggest cinema show Kino Expo 2014 was recently held, the event saw more than 3,000 visitors at the show. They were as eager as us to get a spectacle of the various demos and products. The Russian box office growth in the recent years has been phenomenal. For the fourth consecutive year in a row, the total gross profit is well over US$ 1 billion, which makes Russia retain its world’s top 10 largest cinema market spot. Theatre World sets its sights now on the soon to be witnessed - Australian International Movie Convention (AIMC) at Gold Coast and ShowEast Florida, slated to begin this October. Both shows are unique in their very own region and cater to the wider cinema market at large. Another proud year under our belt, as TheatreWorld is once again the official media partner for both the shows. We forward to garner many more network associations during the event and get in touch with businesses who makes a difference to the magnificient world of cinema. The Indian multiplex industry is slowly picking up with the emerging immersive sound technologies and soon you will find at least one screen in a multiplex endowed with immersive sound capabilities. SPI Cinema has always been a trend setter in the Indian cinema exhibition market and in this issue we feature a special report on their new Luxe cinema. Much awaited celebration season gives audiences, exhibitors and customers a reason to wait for all the goodies coming your way. This includes the Diwali release and the forthcoming blockbuster of this season, Hrithik Roshan’s BangBang, Shahrukh Khan’s Happy New Year and the only Indian costliest movie Director Shankar’s ‘I’. Get set for the starry blitz!

Raghavendra T Editor-Publisher


September-October 2014

Raghavendra T Editor-Publisher +91 9980 208 208

Sandeep Mittal Founder Editor Publisher

Authors & Writers Heti Dave Mansi Modak Michael Karagosian Savita V Jayaram

Clancy D’souza Sales & Marketing +91 78753 29282

M Naga Bhanu Online & Social Media Printing Ramya Reprographic, Bengaluru Published by Raghavendra T on behalf of NETWORK208 013, Skylark Enclave, 5th Main, Jagadish Nagar, New Thippasandra Post, Bengaluru 560 075, India

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-56 for TW, and India pages TM-1 to TM-20 for TM. TM is inserted between pages TW-42 and TW-43 of TW.



Making Sound at

Norwegian Film Festival! TW-34

Kansas Cinetopia with

Three Massive GXL Screens



Immersive Sound Requires

More Than a Standard TW-26


Various Film Formats TW-28

What Exhibitors Should

Know About Laser Projectors



Vue Enhanced with

4K Digital!


TW-37 Preview -

TW-39 Preview -


Cineworld Telford is

Now Open! TW-47






Fun Cinemas Mumbai:

Mesmerize with Makeover



Inox Faridabad:

Strengthening Presence in NCR


Cinema in Spotlight

Poised for Growth


September-October 2014


Bold. Stylish. Creative.

Christie 4K at the Toronto International Film Festival Christie, a world leader in advanced cinema technologies and visual displays, brings the 39th Annual Toronto International Film Festival速* into sharper focus this year by lighting up an expanded list of venues with Christie 4K-resolution digital cinema projection. With 4K submissions to the festival having doubled from 2013, Christie, the official projection sponsor for 14 consecutive years, will offer 4K screening capability at Roy Thomson Hall, Princess of Wales Theatre, The Elgin Theatre's Visa Screening Room and Ryerson Theatre. All TIFF Bell Lightbox cinemas also feature Christie 4K projection. The Toronto International Film Festival is the world's largest and most acclaimed public film festival, this year screening 392 features and 139 world premieres from 79 countries. The Festival will be held September 4 - 14. "In the short span of a decade, nearly 100 percent of Festival screenings have gone from traditional film to digital, reflecting a global technological revolution that has transformed the filmmaking world," said Diane Cappelletto, TIFF's director of technical production services. "Christie's increasing presence throughout the Festival as the official digital projection partner has been instrumental in helping us meet the evolving needs of filmmakers by keeping pace with the speed of these changes." In addition to the use of Christie Solaria Series 4K and 2K DLP Cinema速 projectors, Christie is providing the Christie HD10K-M projector with dual


September-October 2014

HD-SDI input module, and six Christie CineIPM 2K digital cinema image processors. Christie is also supporting TIFF's inaugural Festival Street initiative, September 4 7, during which King Street West will be transformed into a "pedestrian playground." The event will feature live music, a pop-up show, food trucks, and art installations. A Christie Roadster HD20K projector will illuminate the Radio Music Zone and the Steve and Rashmi Gupta Family Stage, where high-energy performances will entertain the crowd. A full list of performers and more details can be found on TIFF's website.

China Film Group Purchases 200 Christie CP2220 Projectors Christie, the world's dominant brand in the digital cinema projection market, announced that China Film Group Corporation (CFGC), the largest and most influential state-run film enterprise in China, purchased 200 Christie CP2220 DLP Digital Cinema projectors to further expand its digital cinema business in China. With this latest acquisition, CFGC will have almost 1,000 Christie digital

cinema projectors in use, which is one of the largest fleets of Christie digital cinema projectors to be owned by a major state-owned film company in China. The newly purchased projectors will be installed in CFGC's cinema chain located nationwide. "We have been working with CFGC for many years and are honored to be selected again to continue with its digital cinema expansion initiatives. This goes a long way to show the confidence that CFGC has in our visual solutions and services," noted Lin Yu, vice president, Christie Asia Pacific. "With our commitment to providing the best and cost-effective digital cinema technologies to exhibitors worldwide, we are confident that the superior picture quality, brightness and reliability of the Christie CP2220 projectors will provide the best cinematic experience for movie-goers and meet the needs of CFGC for many more years to come." Designed for ease of use and maximum reliability with the majority of screens in commercial exhibition, the Christie CP2220 a digital cinema projector solution that is the brightest, highest performance projector with the lowest operating costs in its class. The new user interface and electronics mean improvements in speed and performance. This will help make the Christie CP2220 the industry workhorse. The Christie CP2220 delivers 22,000 lumens with a 3kW lamp in a cost-effective, compact solution for flexible mounting, servicing and installation. It also offers full 2K resolution triple flash for 3D projection and built-in support for HDCP and de-interlacing of alternative content. In addition, the Christie CP2220 was designed to allow a convenient field upgrade to 4K, providing exhibitors with an additional return on their investment. The result is a projector that offers bright, high performance projection with low operating costs, thereby providing greater reliability and lower cost of ownership.

New Farm Cinemas Chooses Christie for its Refurbished Cineplex Christie, the global leader in visual displays and audio technologies, now offers its complete cinema solutions comprising the Christie Solaria Series projectors and Christie Vive Audio cinema systems have been installed in a newly opened cineplex located in New Farm, a trendy inner-city suburb of Brisbane. Known as New Farm Cinemas, the complex houses six state-of-the-art auditoriums that are color-themed with each theater catered for different purposes and clientele. Meticulously rebuilt over a period of 18 months on the site of a former two-screen cinema known as the Village Twin, the 205-seat Purple Room and the premium Bronze Room with 70 seats are to open to the public on August 1. In particular, the Purple Room is the first theater in Australia to be furnished with Christie Vive Audio solution, which provides an impressive cinematic experience for movie-goers. The installation of this extensive range of cinema solutions was undertaken by Christie and its Australian partner EDGE Digital Technology. "We applaud New Farm Cinemas for their decision to install Christie's projection technologies and Christie Vive Audio solution in their refurbished auditoriums situated at this historically and culturally iconic location in Brisbane," said Lin Yu, vice president, Christie Asia Pacific. "We believe that the performance of our projection and line array speaker technologies provides a great visual and audio experience to every movie-goer and makes New Farm Cinemas one of the hottest destinations in the city." The innovative Christie Vive Audio, offers truly rich, dynamic and detailed sound, unlocks the full potential of the DCI digital cinema audio format and supports leading formats such as Dolby Atmos, 7.1 and 5.1 surround sound. Combining the superior audio qualities of ribbon


September-October 2014

driver technology with the proven high quality performance of a line array speaker design - matched with powerful Class D amplification Christie Vive Audio is the complete solution that envelopes audiences with dynamic, detailed and captivating sound. The installation in the Purple Room comprises Christie Vive Audio speakers of varying combinations, including LA1 screen channel speakers, S215 subwoofers (for full range frequency response), S218 for Low Frequency Effects (subwoofers) channels, as well as LA1 and S115 for corner surrounds. Unlike most global Vive Audio installs to date, where surround speakers are mounted on the wall of the auditorium, a corner surround system is specially-designed for the Purple Room as its ceiling has been accorded local and state heritage protection due to its significance as an ongoing cinema since the 1920s. "We are committed in providing our patrons with the best movie-viewing experience by investing in the finest technologies such as Christie's cinema technologies and equipping our theatres with the most modern facilities at this landmark cinema complex on Brunswick Street," said Peter Sourris, owner of New Farm Cinemas. "On top of that, we want

to extend the experience beyond just watching a film. It's actually going to be a pretty trendy place to visit, even if you're not watching a movie. People will come here just for a cocktail. It'll be like a slice of Hollywood, in Brisbane." Besides the immersive aural experience brought about by Christie Vive Audio, audiences can expect nothing but the best visuals from the Christie Solaria CP2215 (equipped with Christie Integrated Media Block solution for seamless conversion and delivery of feature-film and alternative content) and the Christie Solaria One+ installed in the Purple Room and Bronze Room respectively, which utilize the latest generation DLP Cinema electronics platform. The Solaria Series offers precise vivid color with superior contrast ratios and the light output necessary to light up even the largest auditoriums. The clear choice for any cinema exhibition environment, it is fully capable of providing the world's most brilliant images, the highest level of content security, the easiest adaptability, operation and maintenance. Boasting retro carpets, bean bags at the front of each auditorium for couples, arcade games and vintage film memorabilia, New Farm Cinemas is a unique, boutique-style theatre complex that pays homage to the golden age of cinema. Originally constructed in 1921 as the open-air Merthyr Picture Palace, the cinema was remodelled in the 1930s to become the Astor, before transforming into the Village Twin in 1970. The site, bought over by the Sourris brothers in 2013 and rebuilt into a modern 535-seat cineplex, is poised to revitalize this landmark site and turn it into an epicenter of social activity and pop culture. The cinema's second phase, comprising four extra screens including two Gold Rooms offering top-of-the-range amenities, is currently under construction and is expected to be opened later this year.

Movie Tavern 8 Powered by Christie Vive Audio and Solaria Projectors Christie, the global leader in visual displays and audio technologies, announced that Southern Theatres has completed its second "all Christie" entertainment complex, at the new Southern Theatres Movie Tavern 8 in Covington, Louisiana. The eight-screen cinema eatery is powered exclusively by Christie Solaria Series projectors and Christie Vive Audio cinema systems, comprised of Christie's innovative line array wall and ceiling surround speakers, purposely crafted and built for the cinema environment. Christie's Professional Services team provided complete design, integration and installation services and will continue to provide 24/7 remote monitoring and ongoing technical support through Christie's Network Operations Center (NOC). The new complex includes a Movie Tavern Xtreme (MT-X), an enhanced entertainment auditorium featuring a large 3-story silver screen, 2D and RealD 3D capability, and the Dolby Atmos audio format. This includes Christie 4K DLP Cinema projection, the Dolby Atmos audio format, and Christie Vive Audio immersive cinema system, which unlocks the full potential of leading DCI digitalcinema audio formats. The set-ups feature the LA5S, LA3C and LA3S for wall and ceiling surrounds, the

LA3 forscreen channels, and the S215 subwoofer. "We're excited to continue to bring the latest developments in cinema projection and audio technology to our patrons at the Movie Tavern 8 in Covington, LA. The exclusive use of Christie digital projection was never in doubt, but we've also chosen to equip every auditorium with Christie Vive Audio because we believe its revolutionary speaker design provides the benefit of improved sound coverage to every seat in the house," said Danny DiGiacomo, Director of Marketing, Southern Theatres. "In our Movie Tavern Xtreme auditorium (MT-X) , the Christie Vive speakers unlock the full potential of Dolby Atmos sound technology playback and, combined with Christie's 4K digital projection, allows us to deliver the ultimate movie viewing, listening, and dining experience for our guests," noted DiGiacomo. The remaining seven auditoriums are configured for the Dolby 7.1 audio format and will feature the LA1 and LA3 configuration for screen channels and the LS3S for wall surrounds. Complementing the impeccable immersive surround sound provided by Christie Vive

Audio, the auditoriums will also be equipped with Christie CP2215, CP2220, and CP2230 DLP Cinema速 projectors, members of Christie's Solaria Series, which offer crisp, bright pictures on every screen. "Within a year of launch, Christie Vive Audio has established a reputation for superior performance to meet the demands of today's motion picture content, setting a new standard in immersive cinema sound," said Patrick Artiaga, director, business development, Audio Solutions, Christie. "We're pleased that Southern Theatres has again selected the complete Christie family of digital projection and cinema sound solutions to fill every auditorium with the most lifelike, realistic movie-viewing experience available today." Christie's Global Professional Services team was involved exclusively from the beginning of the project to the end, providing unparalleled professional consultation, integration, installation, and design services for all eight of the auditoriums. "Christie is truly a 'one-stop-shop' for all cinema needs. We created the layout, designed the technology floor plan, and installed and integrated all of the products in the auditoriums for Movie Tavern 8," said Sean James, vice president, Global Professional Services, Christie. "We will also continue to maintain the systems to ensure everything is running smoothly through ongoing technical support and 24/7 remote monitoring from our Network Operations Center." Added DiGiacomo, "An 'all Christie' cinema complex is best serviced by an 'all Christie' service and installation team. We knew we could trust Christie in every aspect of this project to deliver the 'complete Christie experience,' from superior projection to superior sound to superior installation and ongoing technical support."


September-October 2014

Barco's Latest 6P Laser Projector Won Prestigious BIRTV Award Global visualization leader Barco announced that its newest 6P 4K laser projector, the DP4K-60L, has won an award at the 2014 Beijing International Radio, TV & Film Equipment Exhibition (BIRTV). Judges praised Barco's world leading laser technology in digital cinema projection and the strength of the company's R&D accomplishments. The BIRTV awards program is one of the most prestigious in the digital cinema industry. Sponsored by the BIRTV committee and the Advanced Television Engineering journal, winners are selected by a panel of industry experts according to rigorous and objective standards. Barco products have won BIRTV awards for several consecutive years; this year, the company's 6P 4K laser projector took the prize especially for its revolutionary design and excellent performance.

Integrated 4K 6P laser projection technology From xenon lamp illumination through laser 3P to the latest 6P, Barco has consistently engaged in technical innovation to forward digital cinema projection technology. The DP4K-60L laser projector is the first DCI-compliant laser projector that is capable of showing 4K content at 60 fps and 3D movies in full 4K resolution. "High-frame-rate and high-dynamicrange film projection will be the status quo in the future," says Dr. Clark Xu, director of the Strategic Business Development division at

CFG-Barco Electronics in Beijing. "The Barco new laser projector has broken through many technical barriers, and we are eager to share it with the cinema industry and help give audiences an even better movie going experience."

Unique technology for a premium movie going experience Compared to xenon lamp projectors, Barco's DP4K-60L laser projector has significantly better brightness, color gamut, and contrast. The projector is unique in its ability to minimize speckle-even on silver screenseliminating the need for a mechanical screen-vibrating system to achieve the desired image quality. In addition, the projector is powered by Barco's advanced Alchemy technology combined with the Integrated Cinema Processor (ICP) and Integrated Media Block (IMB), helping relieve exhibitors of matching and debugging work and realize more streamlined operations. "The DP4K-60L laser projector is an excellent choice for premium theatres seeking to stand out from the crowd and for users who desire

future-proof technology," says Mr. Phil Chen, CFG-Barco's general manager. "So far, 10 units of Barco laser digital cinema projectors have been ordered from Chinese exhibitors, all ten will be installed by end of this year. We are very proud of winning the BIRTV award and delighted to help cinemas provide their visitors with the very best experience they can."

GNC Cinemas Goes 100% Digital with Doremi GNC Cinemas confirmed that it will leverage the outstanding feature set, support, and reliability of Doremi servers for 31 new digital units being installed in its locations across Southern Brazil. The install base will include both IMB/ShowVault and IMS1000 servers setup through Quanta DGT | AAM VPF signature. With over 20 years in the market, GNC has proven itself to be one of the most innovative exhibitors in the region. This step forward is an investment in bringing the best cinema experience to the Rio Grande do Sul and Santa Catarina markets. "We have an enormous pleasure announcing that we have selected Doremi. The reliability and incredible set of features and functionalities allows us to focus on what we do best: attend to our customers," said Eduardo Leite, CFO, GNC Cinemas. "We are thrilled to be part of GNC Cinemas' operations," said Mike Archer, Vice President of Digital Cinema, Doremi Labs. He added, "Reliability is crucial as the industry here makes its way through this era of digital change." So far in 2014, Doremi has deployed over 1,500 servers in Brazil alone and is solidly holding its market leadership across Latin America. The company's unparalleled reputation for reliability, ease of use, and its broad feature set has been proven in every area of the world. September-October 2014


Barco Delivers 500 Digital Cinema Projectors in Brazil Digital cinema expert Barco announced that it has recently closed a deal with integrator Quanta DGT to supply 500 digital cinema projectors to theaters in Brazil through a Virtual Print Fee (VPF) financing model. Many of the largest cinema exhibitors - Cinesystem, GNC, Cine Sercla, CineShow, CineArt, AFA Cinemas, PlayArte, Arcoplex, Cinematográfica Araujo - and dozens of small exhibitor groups have chosen to go digital with Barco digital cinema projectors. While Brazil is the world's tenth most important cinema market in admissions, the digitization percentage has been quite low for a long time: only around 38% of the 2,500 screens were digitized by the end of 2013. Recent public policies encouraging exhibitors to digitize their screens, including the VPF program, are taking hold and over 70% of the country's exhibitors have already joined the program. Many of them rely on the support of system integrator Quanta DGT who, together with global digital cinema leader Arts Alliance Media have VPF agreements with the Hollywood studios to fund the rollout of digital cinema across Latin America.

500 units by year-end "We give the exhibitors full flexibility regarding the digital cinema equipment they want to use," says Tieres Tavares, CEO of Quanta DGT. "So they can choose the projectors and servers that best meet their needs." As the major cinemas chose Barco projectors, Quanta DGT and Barco struck a deal for the delivery of 500 projectors, the first of which were shipped in July. In September, more than 300 units will be transported to Brazil. Local Barco Service Partners will install the projectors commencing in September. By the end of the year, all 500 screens should be digital.

Worthwhile investments "We are delighted that these cinema exhibitors decided to put faith in Barco for their digital cinema conversion. The choice demonstrates that our long-term commitment to


September-October 2014

the Brazilian cinema market, featuring a strong local support team and local stock, brings excellent results," added Ricardo Ferrari, Barco Sales Manager Digital Cinema. Over the past few years, Barco has indeed made sizeable investments to strengthen its local staff, train technical professionals (at its São Paulo Training Center) and optimize its local stock levels, thus avoiding waiting times for new projectors and spares. In addition, the company participates in important social projects in Brazil like 5 Views and Cine Manguinhos, aimed at bringing the world of cinema closer to Brazil's deprived youngsters and offering them opportunities in the exciting cinema market.

Volfoni 3D Contests the Validity of RealD’s Utility Model Patent in Russia Volfoni, the global 3D technology solutions leader and creator of the groundbreaking 3D cinema system, SmartCrystal Diamond, confirmed

that it will vigorously challenge RealD’s Utility Model (UM) patent in Russia. Volfoni has started the process to invalidate RealD’s UM patent at the Chamber for Patent Disputes of the Russian Patent Office. Volfoni strongly believes RealD’s Russian UM patent does not bring any innovation to 3D technology, nor to any of Volfoni’s internationally filed patent applications. Volfoni has concluded that RealD’s UM patent filed in Russia is not valid because of its blatant lack of novelty. UM patent applications in Russia do not undergo substantive examination in the Russian Patent Office, and are only examined for compliance with formal requirements. Volfoni asserts that RealD’s Russian UM patent is a wrongful attempt to suppress competition in the manufacture and sale of 3D cinema projection systems in Russia, and specifically Volfoni’s innovative and superior SmartCrystal Diamond. Accordingly, Volfoni demands further investigation and examination by the Russian Patent Office. “Volfoni respects innovation and competition in the marketplace. RealD continues to try to threaten our clients and partners around the world, without any legitimate legal grounds. Any attempt by RealD to misuse its Russian UM patent against Volfoni’s products or to intimidate our clients and partners will not be tolerated. We stand with our customers and behind our products” said Thierry Henkinet, President, Volfoni Group. Volfoni filed and has been granted numerous innovation patent applications in France for its 3D technologies and these patents have been filed around the world. Most recently, Volfoni’s unique “triple beam” technology that is used in its premier 3D cinema system SmartCrystal Diamond was granted a Chinese patent by the State Intellectual Property Office in China.

Geneva Flagship Theatre with Auro 11.1 Immersive Sound Swiss Arena Cinemas inaugurated its flagship cinema in Geneva in June, and Digital Cinema pioneer Barco joins them in celebration of another digital cinema milestone. With the help of system integrator Protronic, Arena Cinemas equipped each of its nine theaters with Auro 11.1 immersive sound by Barco, as a way of enriching the moviegoing experience. Cinema-lovers who visit the new Geneva-based cinema in the coming months will be able to enjoy blockbusters like 'Teenage Mutant Ninja Turtles', 'Lucy' and 'Into the Storm' in Auro 11.1 by Barco in any auditorium in the theater. Arena cinemas has made the first 100% immersive sound capable multiplex in the world. 'More than only cinema', claims the baseline of Arena Cinemas. The group is indeed committed to offering its customers an exceptional moviegoing experience. Comfort is therefore a key concern, as is the latest digital cinema technology, at the nine-theater flagship cinema in Geneva. "Luxury, wide padded seats with large armrests, great leg room, big screens, a stylish lounge and bar. We've really raised the bar to make sure our audience truly enjoys their time at the movies," says Patrick Tavoli, CEO of Arena Cinemas. "In addition, we wanted to fit out the theaters in Geneva with the best technology too. Barco's Auro 11.1 immersive sound fits the bill perfectly."

First in Switzerland Supported by Datasat Digital Entertainment, cinema system integrator Protronic advised Arena Cinemas to install the Auro 11.1 immersive sound by Barco. "We were impressed right away when we experienced Auro 11.1 immersive sound at CineEurope 2012," says

Patrik Engler, CEO at Protronic. "It did not compare to anything we'd heard before. By incorporating the height and overhead channels to the existing surround sound, Auro 11.1 allows a more natural and immersive experience, enveloping the audience without being distracting." "It really feels like you are right in the middle of the movies," Tavoli confirms. "We are delighted to be the first theater in Switzerland to offer this premium sound experience."

More movies mixed in Auro "Barco is delighted to see the adoption of Auro spread around the world," comments Brian Claypool, Senior Director Strategic Business Development at Barco. "The number of confirmed movies mixed in Auro 11.1 is, by the way, growing impressively. Later this summer, cinemas will show the long-awaited new 'Ninja Turtles' movie, the disaster film 'Into the Storm' and 'Lucy', featuring Scarlett Johansson and Morgan Freeman, all mixed in Auro 11.1 by Barco." The fact that the entire multiplex has been configured

to offer patrons immersive sound is further proof of the ease of use and cost effectiveness of Auro 11.1 over the competition.

IMAX and AMC Theatres Sign 11-Theatre Deal IMAX and AMC announced an expansion of the companies' existing joint revenue sharing arrangement with the addition of 11 IMAX theatres. The theatres, which will carry 13-year lease terms from the date of installation, are expected to be installed in 2015 in cities that include Chicago, New York, Newark and Phoenix. This agreement brings AMC's total IMAX commitment to 159 theatres and reinforces its position as the largest IMAX exhibitor in North America. "Guests are choosing AMC because they know they'll get the best possible movie-going experience, including more immersive IMAX theatres than anyone else in North America," said Gerry Lopez, CEO and president of AMC. "We look forward to strengthening our longstanding successful partnership and bringing the IMAX Experience to more moviegoers across the United States" "For nearly a decade, AMC and IMAX have worked together to bring millions of movie fans across North America the best cinema-going experience possible," said IMAX CEO Richard L. Gelfond. "Our collaborations continue on many fronts, most recently on new marketing initiatives which include developing custom IMAX content for AMC's marketing channels, successfully generating awareness of our brand and experience. We see today's agreement with AMC as an endorsement of the long-term viability of the IMAX domestic business and anticipate many more years of shared success." The agreement terms include six new sites and the confirmation of five previously conditional sites. September-October 2014


First Large-Scale Canadian Laser Projection Demo Highlights GSCA Conference In a special technical session of the Giant Screen Cinema Association (GSCA) conference scheduled for September 23 at the Cineplex Cinemas Queensway in Toronto, Christie, a world leader in creating and sharing the world's best visual and audio experiences, is teaming up with Harkness Screens and Electrosonic to demonstrate a premium giant screen cinema experience. Press and GSCA delegates from 20 countries will have an opportunity to learn all about the latest in cinema technology from a group of industry experts and will be treated to the ultimate cinema experience, with clips from educational documentary films as well as Hollywood blockbusters being projected at over 90,000 lumens (brightness) by the Christie laser projection system-which delivers more than three times the light output compared to current, lamp-based digital projectors. Coupled with an immersive array of Christie Vive Audio speakers, this session represents the best cinema technology available today. "GSCA prides itself on showcasing the best films in their best possible light," says Tammy Seldon, GSCA Executive Director. "We are very pleased to partner with Christie, Harkness Screens, and Electrosonic to show our members the latest in projection technology" she added. "As a pioneer in the cinema industry, Christie is known for delivering the ultimate cinema experience, both in image and audio reproduction," said Don Shaw, senior director, Product Management, Christie. Added Shaw, "As exhibitors realize the benefits of laser projection and advanced immersive audio systems, they will also realize the benefits of engaging leading integrators such as Electrosonic to take advantage of the oversight, detailed design assistancefor both hardware and software


September-October 2014

components-and system-level testing to perfection that only skilled integrators can deliver. We also can't overlook the impact of matching the technology with the ideal screen surface, which has a tremendous impact on both the visual and audio experience in a cinema. Currently, we recommend Harkness Screens for all of our laser projection installations." "Electrosonic is proud to have shared 50 years with innovative partners and customers, pushing the limits of what audio-visual technology can do," says Jim Bowie, President of Electrosonic Group. "It's an incredible evolution across many markets including entertainment, which has been one of our top priorities for decades. Our work with visionary suppliers like Christie--who has led in laser projector development - reflects an important mutual commitment to technology and customers." The Christie laser projection system installed for the GSCA laser event uses state-of-the-art, 6 primary (6P) color system that provides intense brightness, wider color gamut capabilities and higher contrast than traditional digital projectors, and delivers naturally simultaneous stereoscopic imagery with no 3D "crosstalk." The result is the ultimate giant screen cinema experience for all 2D and 3D films. The system installed for this show will provide greater than 90,000 lumens of brightness, and images will be delivered at 4K resolution, to reveal stunningly clear details. Film clips scheduled to be seen at the technical session include Antarctica's Penguin Emperors, Dark Universe, The Life of Trees, NAYA Legend of the Golden Dolphin, Remnants, Star Spangled Banner: An Anthem of Liberty, The Turn of This Century, UFOTOG, as well as several shorter clips of the best of the Giant Screen clips.

Cinemacenter Selects Doremi to Complete its Digital Roll-Out

Doremi announced that Cinemacenter (CCA), the largest independent national exhibitor in Argentina, has selected Doremi servers and media blocks to complete the digitization of its screens. Cinemacenter's installation includes Doremi IMS1000, IMS1000-AR (assembled in Argentina) and ShowVault / IMB servers as their playback solution. "We have found excellence in Doremi; not only in its products but also in regards to its technical support and services in Argentina. The reliability Doremi offers strengthens our partnership, and provides piece of mind in addressing any future issues." says Esteban Su単e, Director of Cinemacenter. In a continuous process of growth, Cinemacenter will complete its digital conversion in November 2014 and will to continue its new screen and theatrical growth throughout 2015. "We are very proud that such an iconic and future driven company like CCA has chosen Doremi technology to deliver content to more than 80 cinemas distributed throughout the country." states Jason Vreeman, Senior Sales Manager, Latin America, Doremi.

USL Honored with Manufacturer of the Year Award The International Cinema Technology Association (ICTA) held its annual convention this year at the Willard Intercontinental Hotel in Washington D.C. and USL, Inc. received the acclaimed Teddy Award as the Manufacturer of the Year.

ICTA's dealers, resellers and service providers vote on the Teddy award, and it is given to a manufacturer that clearly demonstrates a consistent dedication to innovative products, services and support to the cinema industry's dealer network on a global level. USL, Inc.'s Vice President, Felicia Cashin, stated, "When I started working with USL in 1987, it was my goal to establish the best customer service department in the industry. With the continued honor of receiving Manufacturer of the Year awards, I feel we have not only achieved these goals, but continue to perform at the highest levels every year." Cashin added, "Our front line customer service representatives are aware that satisfying the customer is their primary goal." This is USL's sixth time in receiving the prestigious Teddy award. Director of Sales for USL, and ICTA Board Member, Clint Koch, commented, "We understand that our dealers have the opportunity to select cinema products from any manufacturer. It is our belief that they continue to select our products because we are constantly providing new products that are innovative, and reliable. USL, Inc. has been a supporting member of ICTA since 1988. ICTA was founded in 1971 and now represents more than 180 manufacturers and cinema-related business worldwide. Jack Cashin, Founder & President of USL, Inc. states, "We are delighted to be selected for our sixth Teddy Award, by the dealers and integrators of ICTA. Our relationship with our dealers has always meant a great deal to all of us at USL and we appreciate their continued confidence in our company, our products and reliance on our customer service and support." USL, Inc. has over thirty years of experience in leading edge technology and has received two Academy Technical Achievements Awards.

IMAX and Cinepolis Sign 3-Theatre Agreement IMAX and Cinépolis, the world's fourth-largest cinema exhibition company, announced an agreement for three IMAX theatres to be located throughout the United States. The first theatre will be added to the Cinépolis Posner Park complex in Kissimmee, Fla., with locations for the second and third theatres yet to be determined. The deal brings Cinépolis' IMAX commitment to 25 theatres and marks the exhibitor's first IMAX theatres in the United States. "Fueled by our success in other countries, the U.S. is now among the most important markets we've targeted for expansion. IMAX - with whom we have a relationship in eight countries - offers a complete end-to-end solution, works closely with filmmakers and has a brand that is widely recognized as the best way to experience event films," said Alejandro Ramirez, CEO of Cinépolis Worldwide. "Based on these factors and our success to date, we are confident IMAX will continue to strengthen our competitive position as we develop our U.S. circuit and other potential new markets." "Today's agreement with Cinépolis makes it a true global partner that shares our international perspective on the growth of the film and exhibition industry," said IMAX CEO Richard L. Gelfond. "With our extensive network, IMAX is well-positioned to continue helping exhibitors and studios alike capture and grow the premium entertainment market globally. We are pleased to once again partner with Cinépolis to bring its first IMAX theatres to the U.S."

GDC Technology Ships Over 14,000 SX-3000 IMB Worldwide

shipped over 14,000 units of its SX3000 Standalone Integrated Media Block (SX-3000 IMB) globally, making it the most widely installed IMB on the market. As the industry's first standalone IMB, the SX-3000 IMB sets the standard for simple and hassle-free digital cinema solutions. The SX-3000 IMB significantly lowers operation, maintenance and installation costs by eliminating the need for an attached server - while offering High Frame Rate ("HFR") capability in both 2D and 3D, live 3D support, digital connectivity for alternative content such as 3G HD-SDI and HDMI input with image-scaling from HD to 2K. In addition, the unit allows long distance 2K and 4K content streaming and remote access via gigabit Ethernet to simplify multiplex cinema operations. "Global response towards the SX-3000 IMB has been overwhelming as exhibitors are actively selecting nextgeneration integrated media blocks to upgrade their performance for the digital age. Offering cutting-edge technology with increased operational and cost efficiency, the SX-3000 IMB fits that role perfectly," explained Dr. Man-Nang Chong, founder and CEO of GDC Technology. "We are fully committed to meeting the needs of our customers by developing digital cinema solutions that inspire and engage." SX-3000 IMB sales have grown 2% year-on-year since its introduction in H1 2013, reinforcing GDC Technology's position as one of the world's leading digital cinema solution providers. As of July 2014, GDC Technology holds the largest share of Asia's digital cinema server and theater management system market, and is the No.1 digital cinema server provider in China, South Korea.

GDC Technology, a world leading digital cinema solution provider, has

September-October 2014


Evergrande Selects GDC SX-3000 IMB and TMS

Evergrande Cinema Line Management Co has selected GDC Technology as its technology partner to provide approximately 300 units of SX-3000 Standalone Integrated Media Block (IMB) and 30 sets of Theatre Management System (TMS) at its cineplexes in China. As of August 13, 2014, GDC's IMB and TMS have already been deployed in 15 Evergrande cineplexes. Established in 2010, Evergrande Cinema Line is a wholly owned subsidiary of a Hong Kong listed company Evergrande Group, which is a conglomerate that focuses on residential property development and is engaged in FMCG, commercial, hotel, sports, and culture industries as a whole. The Group possesses close to 300 large scale projects across 147 major cities in China. Evergrande Cinema Line is one of the Group's subsidiaries specialized in theater investment, development and management and its mission is to build a boutique cinema line with "top cinemas, first class team, superior service and premium brand". Relying on the Group's commercial and residential developments and urban complex projects, Evergrande Cinema Line targets to be one of the largest cinema lines in China. As of today, Evergrande Cinema Line has up to 108 cineplexes under planning and construction in China with more than 1,000 screens, and it is expected to account for over 10%


September-October 2014

market share in the coming 5 years. The opening of Evergrande cineplexes in Xian, Zhongshan, Yueyang and Danzhou mark the first substantial move of Evergrande Cinema Line towards formal operations. As a world leading digital cinema solutions provider, GDC Technology will make its best effort to cooperate in Evergrande Cinema Line's development plan by providing comprehensive, highquality installation and integration support. "Stable and reliable hardware and software are both essential for a top cinema line in China," said Guangwei Li, General Manager of Evergrande Cinema Line, "After stringent comparison and analysis over a long period of time, we have come to a conclusion that GDC's IMB and TMS are compliant with all our requirements."

Shanghai Film Company to Deploy AAM Software Leading digital cinema company Arts Alliance Media (AAM) announced its partnership with Shanghai Film Company Ltd (SFC) to supply SFC's digital cinema network with AAM'smarket leading software. AAM and SFC will begin the deployment immediately. SFC is a subsidiary of Shanghai Film Group, which has been one of the

leading companies in China's film industry for over 100 years. SFC will become the first Chinese exhibitor to use AAM's Lifeguard software to power a Network Operations Centre (NOC). Initially, the NOC will service around 2,000 digital cinema screens across the country. The NOC will grow over time to serve many more screens in the rapidly growing Chinese digital cinema market. Lifeguard provides centralised equipment monitoring and issue resolution capabilities, enabling a comprehensive maintenance service to be provided to cinemas. In addition to the Lifeguard software, AAM's Theatre Management System (TMS) software will be deployed by SFC to manage and control all screens in the digital cinema network, providing content, scheduling and playlist management. Earlier this year, Arts Alliance Media and DMCC/SARFT (The Administration of Digital Film Content / The State Administration of Press, Publication, Radio, Film and Television of China) also signed a letter of intent for a technical partnership to allow AAM'S TMS to fully integrate with DMCC's system for digital cinema programming in China. Roger Zhu, General Manager of Shanghai Film Company Ltd, said of the partnership "We were impressed with Arts Alliance Media's software solutions, and believe that the AAM TMS and Lifeguard are the best products to power cinemas and our NOC. We will be working closely with AAM to integrate the technology with the existing equipment across our estate. We look forward to accelerating the creation of our NOC team to support an increasing number of screens across China with a reliable service to eliminate missed shows." John Aalbers, Chief Executive Officer of Arts Alliance Media added: "Partnering with a company of the calibre of SFC is a great way to mark Arts Alliance Media's progression into China. SFC is one of the most iconic film companies in China with

a long and rich history dating back to the 1890s. It is an honour for us to partner with such a prestigious company and we are thrilled by the prospect of our software being used to support the exciting Chinese cinema industry." Arts Alliance Media has extensive experience in digital cinema NOC systems, having run a UK-based NOC for eight years. Currently the AAM NOC services many thousands of cinema screens around the world. Lifeguard was developed by AAM using this expertise and is now available to exhibitor and integrator partners globally. Lifeguard accurately maintains equipment records, centrally monitors all digital cinema hardware and alerts the user to any potential issues. Users can view data from all cinema equipment, no matter where the site is located, through a central webbased interface. The system provides a powerful incident management system allowing the NOC to quickly identify high priority issues that require addressing. At the core is a comprehensive knowledge base to ensure maximum efficiency.

Screenwriter TMS Announces Support for USL LSS-100 Quality Control Probe Arts Alliance Media (AAM), announced that its Screenwriter Theatre Management System (TMS) and Lifeguard Network Operations Centre (NOC) software products are now fully integrated with the LSS100 Quality Control Probe from USL, allowing exhibitors to measure multiple environmental factors in their cinemas. Integration with AAM's software now allows testing to be started automatically in a screen, with results monitored and tracked over time to identify issues before playback, avoiding missed shows and revenue loss. The LSS-100 enables cinema owners

to ensure the optimum sound and image environment for their auditoriums by measuring sound pressure level, luminance (the measure of light on a screen), chromaticity (hue and colourfulness), and colour temperature. Measurements can be used to identify lamps nearing end of life, misadjusted lamps, projector colour problems, defective speakers or other audio components, and when integrated into AAM's software suite can be viewed alongside other key digital cinema data such as projector status, disk space and software information, and monitored continuously from a NOC anywhere in the world. Integration of the LSS-100 with Screenwriter and Lifeguard means that testing can be performed automatically, by creating a playlist with test content and setting automation cues from the server. Screenwriter then runs the test playlist at scheduled times and the LSS-100 reads the different environmental factors associated to that screen. Information is captured via Lifeguard reporting and is recorded in order to show trends over time and anticipate problems early, in time to fix them. "Lifeguard is already the most comprehensive digital cinema equipment monitoring solution available" Eric Stevens, Commercial Director of Arts Alliance Media commented "and now with adding LSS-100 integration, Lifeguard offers a truly unique and powerful solution that monitors everything you could wish to in your cinemas from one central place. This means for example that a NOC which could be thousands of miles away can see which lamps are nearing the end their life, before anyone on site might be aware of a problem." Jack Cashin, President of USL added "The LSS-100 is being very well received and people are excited to be able to ensure the best possible conditions for their cinema easily. We're delighted to announce the Arts Alliance Media TMS integration

and we were very impressed by how intuitive and easy to use the software is. This solution can now provide a complete view of the exact status of any number of screens, and the results can be consolidated and analysed in order to provide genuine business benefits." AAM's Lifeguard software, launched at the end of 2013, allows cinema NOCs to monitor equipment across a circuit, with customisable error alerts and trouble-ticketing to proactively address issues and track support actions.

Ballantyne Strong Announces Chief Financial Officer Transition Ballantyne Strong, a diversified provider of digital technology services, products and solutions, announced that Nathan D. Legband has been appointed Chief Financial Officer, effective September 2, 2014. Legband, who has served as Corporate Controller for Ballantyne Strong since June 2012, will replace Mary A. Carstens, who will be retiring on September 2, 2014. Legband joined Ballantyne Strong as Corporate Controller in June 2012. In this role, Legband has been responsible for the preparation of all SEC filings, coordinating internal and external audit functions, implementing forecasting and budgeting processes, and managing the treasury function, among other responsibilities. Prior to joining Ballantyne Strong, Legband served in a number of finance department positions for West Corporation, a leading provider of technologyenabled communication services, from 2008-2012. During his time at West Corporation, Legband served as Director of Accounting/Controller for the West Asset Management segment and then Senior Director of Accounting and Financial Analysis for the Communication Services segment. Legband began his career

September-October 2014


as an Audit Manager in the Omaha and Denver offices of Deloitte & Touche LLP. Mr. Legband is a CPA and has a Bachelor of Science Degree in Business Administration from Creighton University. Gary L. Cavey, President and CEO of Ballantyne Strong, commented, "During his time at Ballantyne Strong, Nate has taken on an increasing level of responsibility within our finance department and demonstrated the skills required to be an effective Chief Financial Officer. His experience and understanding of our businesses will be instrumental in maintaining continuity within our operations. "We would also like to thank Mary Carstens for her years of excellent service to Ballantyne Strong. Mary has indicated that she wants to spend more time with her family and we wish her well in her retirement," said Cavey. "I am looking forward to the opportunity to travel and see more of my family," said Ms. Carstens. "I am proud of the work we have done to build Ballantyne Strong into a diversified provider of digital technology services, products and solutions. I believe Nate will provide strong leadership for the finance department as Ballantyne continues to execute on its growth initiatives."

MDN Selects AAM's AdFuser Software to Automate Cinema Advertising MDN is one of the pioneers of cinema advertising in the Norwegian market and covers over 200 screens in the region, all of which will be powered by AdFuser following a competitive tender by MDN for advertising solutions. AdFuser is Arts Alliance Media's revolutionary software to power


September-October 2014

advertising on cinema screens and lobby display screens, using sophisticated targeting rules to aim campaigns at specific demographics and enabling exhibitors to increase revenues without increasing costs through harnessing the power of digital cinema technology. With AdFuser, the entire advertising process for on-screen and lobby advertising is automated, requiring no input from the cinema sites. In a market such as Norway where digital cinema advertising is already very advanced, AdFuser takes the process to a new level of power and efficiency. Ad content is targeted automatically to the precise audience the brand requires and content is inserted into the right slots in the playlists, not only drastically reducing the administration overhead but also reducing errors that can result in the wrong content being shown and potentially upsetting an audience. Supporting national, regional and local advertising, AdFuser offers efficiences and cost savings right across the process through automatically targeting and building a campaign at the click of a button. The technology behind AdFuser not only enables more precise targeting than ever before, but lead times for advertisers are also significantly reduced, enabling changes to be applied in minutes and attracting new advertisers to the medium. Advertisers and media agencies can also benefit from fully automated reporting and analytic insights, increasing accountability and reliability for brands. Using data from cinema playback logs, AdFuser's reporting technology shows exactly which ads played and when, as well as providing reports on other data such as billing and inventory, all with minimal operator effort, thus reducing time spent on compliance to allow more time for ad selling. AdFuser also works across lobby screens in cinemas, providing a seamless experience across all screens in the complex. Lobby screens can

be included in advertising campaigns, benefiting from the same advanced targeting as onscreen campaigns, and can also be configured to show information such as concession promotions, trailers, interactive touch displays or social media feeds. AdFuser also enables trailers and posters to automatically update based on the upcoming movie line up, and advertising to be linked from the lobby to the cinema screen, eliminating the need for sites to manually update displays themselves. Bjørn Erling Ottersen, Chief Executive Officer of MDN said "We've been using Cadien, the predecessor to AdFuser, for several years and now are excited to take advantage of all the advanced features of AdFuser to automate our pre-show and deliver highly advanced levels of campaign targeting to our customers. AdFuser seems to be a powerful software, enabling us to automate the business process even more and we are looking forward to having the possibility to segment to an even more detailled level based on film genre, target groups and demographics as well as having full proof-of-play reporting, bringing a large level of accuracy and transparency. We are really looking forward to using this system." Richard Hill, VP Product at Arts Alliance Media commented "We see AdFuser as the future of cinema advertising. We've used all our digital cinema technology expertise to create a truly distinctive product there is nothing else on the market that can automate the cinema advertising process this well. The software has been specifically built for digital cinema, and hasn't had to deal with limitations of 35mm or ecinema products. With AdFuser, MDN can target and sell advertising in any way they want to, enabling them to offer an even better service to their clients as well as increasing their revenue and lowering costs."

Asia Cinema Installs Volfoni’s SmartCrystal Diamond in Moscow! The most elegant, portable, and brightest, passive advanced 3Dsystems - Volfoni’s SmartCrystal Diamond (SCD) will help present all of the esteemed Studios’ upcoming releases. “By providing companies as renowned as Walt Disney Studios and Sony Pictures Releasing with our SmartCrystal Diamond, we are delighted to cement our status as one of the leading players in Russia. With its amazing light efficiency (LEF) of 30%, Studios and clients demand the best results,” says Alain Chamaillard, Managing Director, Volfoni EMEA & CIS. “Asia Cinema always installs Volfoni equipment with great pleasure”, says Arseniy Kuzminich, Director, Asia Cinema. “We have been working for a long time with our partners at Volfoni, and we enjoy the collaboration. I can say without any exaggeration, Volfoni’s SmartCrystal Diamond is one of the best solutions for 3D content presentations, and that Walt Disney Studios and Sony Pictures Releasing have made the right choice.” Volfoni’s team of 3D experts have developed the most cost-effective high-end 3D polarizers for even the largest silver screens. Smart Crystal Diamond is a truly standout product, earning high marks for its quality and affordability. The secret of success of this new system is in the unique “Triple Beam” technology, which was designed in Europe and powered by Volfoni. Òhis technology allows clients to achieve unique brightness and amazing light efficiency (LEF), elevating 3D-presentation to a new level. “Our main purpose is to allow our partners and customers to get to know the latest Disney and Sony’s releases, made in 3D, in full volume, as it was conceived by the films’ creators. It’s obvious that Volfoni

SmartCrystal Diamond solves this task successfully,” says Anton Sirenko, General Director, Walt Disney Studios Sony Pictures Releasing.

GDC DCP Packager Certified for Dolby Atmos Mastering GDC Technology Limited (“GDC Technology”), a world leading digital cinema solutions provider, revealed that its mastering software, GDC DCP Packager, has been certified by Dolby Laboratories for mastering Dolby Atmos soundtracks. The certification formally recognizes its capabilities in creating Dolby Atmos Digital Cinema Packages (DCPs).

more powerful as customers can now rely on a trusted name to create and deliver Dolby Atmos DCPs,” said Pranay Kumar, CTO of GDC Technology. “Achieving this certification crystallizes the company’s commitment and capabilities in offering industry leading digital cinema products to filmmakers and distributors worldwide.” GDC Technology is actively expanding its service portfolio by building partnerships with technology leaders in the cinema industry. In 2013, it entered a digital cinema strategic alliance with Technicolor, enabling the company to provide in-country drive replication, distribution and KDM support for the East and Southeast Asia region.

Centerplex Cinemas Chooses Doremi to Become 100% Digital

”The Expendables 3" is the first film using GDC DCP Packager for Dolby Atmos mastering, which was handled by GDC Digital Services, a 100% owned subsidiary of GDC Technology. GDC Digital Services also provided Chinese subtitling, mastering in 2D and D-BOX formats, DCP replication and Key Delivery Management (KDM) for “The Expendables 3”. The film was widely released in Hong Kong on 4th September.

Centerplex Cinemas, one of the largest motion picture exhibitors in Brazil, announced that it has reached an agreement with Quanta DGT | AAM to upgrade 44 of its units and become 100% digitally managed by Doremi servers by the end of this year. Servers selected include both the Doremi IMB/ShowVault and the IMS1000.

GDC Digital Services’ clients include major Hollywood and local independent studios. With operations in Hong Kong, USA, Singapore, Japan and China, it offers an array of post production services including digital cinema mastering (2D and 3D), DCP creation and packaging, subtitling, hard drive creation and replication, and KDM (Digital Key) creation, as well as delivery and management to content owners and distributors.

Centerplex was established in 1981 by Mr. Eli Jorge de Lima, currently President of SEECESP, Sindicato das Empresas Exibidoras Cinematográficas do Estado de São Paulo (syndicate of the Cinematographic exhibitor companies for the São Paulo State). Centerplex opened their doors in 1981 in Poços de Caldas-MG. The company is now managed by Eli's son, Márcio Eli, Executive Director. By the end of 2015, Centerplex will have established 62 screens in 18 locations.

”Adding support for Dolby Atmos mastering makes GDC DCP Packager

"I have consulted with my closest exhibitors and technical colleagues to

September-October 2014


gain their opinion on the best cinema playback server on the market. 100% recommended Doremi for its reliability, ease of use and feature set. Centerplex is pleased to select Doremi servers for this rollout," stated their Executive Director. "We are extremely pleased with Centerplex's decision to deploy our servers across their circuit," said Jason Vreeman, Senior Sales Manager, Latin America, Doremi Labs. "We are dedicated to providing them with superior post-sales support." Doremi continues to be the leading choice as South American Cinema continues its evolution to Digital Cinema. With its comprehensive product line and reputation for high performance, the company continues to expand its leadership in Latin America.

Qube Launches DCinema Production and Handling in Qube’s Online Management Service If production of digital cinema packages and the associated keys to lock those packages seems daunting or, in most cases, just plain expensive, then Qube Cinema is about to change that. Using over 25 years of industry knowledge, Qube have developed a series of products and is making them available online to the smallest filmmaker up to the largest studio. KeySmith is revolutionary, taking the key delivery mechanism to another level. Sign up, log in, choose your production and then choose your playout screens and KeySmith will send your KDMs directly to you or straight to the theatre to enable playback. It couldn’t be easier and, not surprisingly, has a price tag that matches that skill level. With a database of thousands of screens


September-October 2014

from crowdsourcing and very close ties to major post-production facilities, Qube allows you to easily search for your theatres and set the screening period. If you are worried about security, then fear not KeySmith uses FIPS protected devices when working in your own secure environment. Previously, there really wasn't much of a choice with DCP mastering you either bought the product or you didn't do the job. Qube is now clearly offering a choice - buy the product or sign up and use it when you need to. With a suite of products available to take you from creation of DCP, including QubeMaster Xpress and Xport, through to key delivery and feedback, Qube provides you with everything that you need to get the job done, easily, correctly and on time. Mastering software packages Xpress and Xport have also been upgraded to complement the range, with encryption added to both products. This takes both of these products to the next level, with 4K and 3D already running, and nicely fits the range. Even if you don’t use Qube for your mastering but still need encryption, you can simply use Qube Locker - another new product specifically developed to make life as simple as possible. To complement the range and offer complete control of your DCP mastering in a post-production environment, Qube has consistently developed QubeMaster Pro to make sure that today’s professional client has literally everything available when required. Nigel Dennis, Head of European business said, “The post market and DCP production and handling in particular has really moved on here. Our online management service has promised a lot but this is clearly a win-win situation for everyone involved. I see this as becoming the norm and the further use of online services for all kinds of operations becoming standard operating practice.”

Barco’s Innovation and Vision Earn its Seat Digital cinema leader Barco announced that it has become a founding member of the International 3D & Advanced Imaging Society. By joining the society, Barco wishes to underscore its commitment to the entertainment business and help shape the cinema of the future, together with the world’s leading entertainment companies and opinion leaders, such as Walt Disney Studios, DreamWorks Animation, Paramount Studios, Dolby Labs and others. Wim Buyens, Barco’s Senior VP Entertainment, becomes a member of the 3D Society’s Executive Committee and Board of Governors. Over the past few years, Barco has worked hard to develop advanced projectors and, more recently, audio solutions that take cinemas into the digital era. Its constant quest for innovation and its commitment to the sector have made it a digital cinema leader: Barco has been capturing more than 50% of the digital cinema projectors worldwide each year, since 2012. To top that off, Barco increasingly delivers innovative solutions that combine high-quality image and sound with unique, interactive experiences to help exhibitors take cinema to the next level. Barco has achieved the status of a key opinion leader in its field, thanks to its clear vision for the cinema of the future and its ‘CinemaBarco’ approach, which was successfully launched during this year’s CinemaCon. In Barco’s eyes, the cinema of the future can be a true multimedia entertainment, business and educational center, and an important local cultural hub. ‘CinemaBarco’ combines a rich array of entertainment concepts to help exhibitors and storytellers create a true value-added moviegoing experience, before, during as well as after the show.


Making Sound at

Norwegian Film Festival!

Since 1973, the Norwegian International Film Festival has been held annually in Haugesund, Norway. It runs for 10 days in August, during which attendees have the opportunity to view over 70 films from 24 countries. In the cinema world, the Norwegian International Film Festival in Haugesund is considered "The Nordic Cannes". Most of the films are screened at Edda Kino, which has five theatres. QSC Cinema products are installed in four of the venues, including the DCP 100 and DCP 300 digital cinema processors and DCS loudspeakers.

The largest room, Edda 1, which accommodates 529 people, is where the major premieres are screened. Edda 1 is equipped with three model SC-434 4-way screen channel systems, three model SB-7218 dual 18-inch subwoofers, and twenty-four SR Series surround loudspeakers. All the loudspeakers are powered by DCA power amplifiers, including DCA 1622, DCA 2422, and DCA 3422. "Regular everyday operation of the cinema is made much easier with the QSC DCP processors, a product that communicates perfectly to our existing digital systems," says Thor Vidar Hjelmervik, the festival's Technical Director. "They are incredibly easy to operate, both from

booth and from the TMS system we use. Channels and presets can be programmed to our specific needs during a busy festival but also for our rentals." Installation and system commissioning was done by Videvox, a full-service cinema products dealer based in Sweden with offices in Norway. The Videvox team was led by key accounts manager Ulf Quicklund. Despite the grueling schedule of 250 to 300 screenings within the period of just a little over a week, all went off smoothly without any problems. Hjelmervik says, "I cannot praise them enough; Videvox is a company with true and proper professionals." September-October 2014



Immersive Sound Requires

More Than a Standard – Michael Karagosian The rapid worldwide transition to DCI-compliant digital projection has been nothing less than spectacular. But that success has blinded many people into thinking that standards and/or the DCI specification now rule the industry. This perception is cause for confusion over how the industry will rollout an immersive sound standard. Hollywood has been distributing proprietary sound formats with movies since the mid-70's. The relatively recent introduction of formats such as Iosono, Auro 11.1, and Atmos follow in the footsteps of so many formats before. But there is a distinct difference, and this difference is important. It was the mid-70's when Dolby introduced its proprietary noise reduction to filmmaking, initiating a revolution in cinema sound. The success of Dolby's proprietary format did not create a monopoly, however. Unintentionally, Ray Dolby left a gap in the patent for his noise reduction method, allowing one fellow inventor, Jack Cashin, to capitalize by manufacturing non-infringing but fully interoperable cinema processors. The company was USL. A competitive market was created, instead of a monopoly, to the ultimate benefit of both Dolby and USL. Competition not only validated

Dolby's work, but it provided a stable base on which the industry could grow. Matrix encoding/decoding was also a critical technology in mid-70's cinema sound. While Dolby did not create the patents for this technology, it engaged in exclusive licensing deals to control its use. USL, however, was again able to build non-infringing decoders, sustaining competition in the marketplace, to the benefit of the industry. Fast forward to today, and Dolby's theme for business hasn't changed. Atmos was introduced as a proprietary sound format. But unlike Dolby's early days with noise reduction, there doesn't exist a backdoor for others to build noninfringing fully interoperable products. Dolby has not only created a monopoly with Atmos, but it also has become the landlord of studioowned soundtracks, since only Dolby can decipher the digital sound data that emerges from an Atmos sound mix. This is anything but a stable, competitive market. Industry concern over monopolistic behavior is the primary reason for the creation of the SMPTE 25CSS Immersive Sound Working Group. This is an inventive activity, not an activity that is documenting industry

practice. Atmos is not being standardized, but rather, a mishmash of technologies are being tossed in a pot to create something new. The final outcome will not represent DTS MDA as demonstrated today by USL and QSC, and it will not represent the hundreds of installations of Dolby Atmos. Rather than seek a commercial solution, SMPTE was handed the effort, apparently on the basis of success of prior SMPTE cinema standards. (One can argue that this success is overstated, as no movies are actually distributed using SMPTE DCP. But that would be a digression.) No one, however, has acknowledged that SMPTE has yet to be successful in standardizing a sound format. A 16channel PCM distribution track file may have been standardized as part of the suite of digital cinema standards. But that's the equivalent of standardizing a paper bag that holds 16 pencils. While SMPTE attempts to describe what one does with the pencils, no movie has ever been distributed that actually follows SMPTE's prescription, with the sole exception of the HFR version of Hobbit 2. Dolby may use SMPTE DCP for Atmos, but it employs Interop guidelines, not SMPTE standards, for packing audio channels in the accessory 5.1 sound track. DCI is relatively powerless in this effort. DCI was successful in establishing its specification worldwide because banks inserted DCI compliance into financing agreements, securing receipt of the VPF subsidy. No bank with committed funds will recognize a new dictate from DCI. Without money to motivate adoption, DCI's newer "mandates" become simply nice-to-haves. None of this bodes well for a new immersive sound standard. SMPTE


September-October 2014

• TECHNOLOGY • does not have a history of success in cinema sound formats upon which to build, and studios have not volunteered (nor should one expect them) to pay for a transition to a new immersive sound standard. If the industry wants to avoid a monopoly in cinema sound, then the problem needs more attention. Dolby, for obvious reasons, is not motivated to solve this problem. In fact, it's not at all clear who is committed to solve it. DTS, who has spent the past few years giving the industry hope that its freelylicensed MDA format will be the industry's savior, is not directed to build a strong presence in cinema, having exited the cinema business in 2008. Auro Technologies, a startup, could be motivated to rollout an open royalty-free standard, but would need a clear financial incentive to do so. A somewhat related problem occurred in the early days of digital cinema. TI's licensees were selling a 1.2K projector. But there was a

There are studios today that exercise brute force tactics by limiting their immersive sound distributions to Dolby Atmos. But surely this cannot be the message they intended. Some soul searching is needed within the studios themselves if they really want an immersive sound standard to take root. problem: not all studios would deliver content to these installations, as they wanted higher resolution. Eventually, TI got the message, redesigned its chips to display 2K, and the rest is history. Such bruteforce tactics may seem heavyhanded, but it is the only mechanism available to studios today when it comes to getting the technology they want. The industry has a chicken-and-egg problem. One can ponder whether one or a few studios will have the will to exercise brute-force tactics. But more importantly, why would a company invest heavily in the implementation of an open standard without a commitment for content?

(The author Michael Karagosian is President of MKPE Consulting LLC, consultancy for business development of new technologies in cinema, and publisher of mkpeReport)


Film Format Series - I


Various Film Formats Over the Years ! Before the digital format we have seen the film fomart that existed for decades. From this issue onwards we run a series on film formats. To begin with, we provide a brief outline on the history of how it all started. An insight intro the world of 35mm While watching the movie Gravity - a movie (based on astronauts trapped in a space station) with best graphics and visuals, which also won various awards including the Academy award for best cinematography - I wondered what would have happened to cinema if we didn't


September-October 2014

have the technologies to capture and present all the marvelous work done by great actors! That's when I began with some research about cinematography and the only thing I am able to say today is a big thank you to Rev. Hannibal Goodwin [1824-1901]. Rev. Hannibal Goodwin inventing the modern age film base to record

the images shot while filming the movies and made it possible for us to view and enjoy movies in such an amazing way. The film base he developed in the year 1889 was celluloid based transparent and flexible unbreakable 35mm film. Later George Eastman promoted the product for commercial usage after he settled an infringement of patent

• TECHNOLOGY • case with Ansco who then held the patent for Goodwin's film base. As it was a new product with no standardization, the first decade to motion pictures saw a mixed bag of film formats till William Kennedy Laurie Dickson found a solution to this issue while working for Thomas Elva Edison. He used a 4-perf 35mm film [1.33:1] for his camera, the Kinetograph [1891], his peephole machine, the Kinetoscope [1893], and his projector, the Vitascope. The Brothers Lumière used 1-perf 35mm for their Cinématographe [1895]. Others used films with a width of 11mm, 24mm, 28mm, 50mm, 62mm, etc. which paved ways for the standardization of 35mm/4-perf.

is used invariably except in the scenes where the directors want to change the tempo to show desired effects to the audiences. Normally, during action scenes, the projectionist increases the speed so that the action scenes do not seem slow, whereas for showcasing comedy and dramatic effects, the projectionist reduces the speed.


In 1929, the arrival of sound necessitated the squaring of the

In 1907, the Motion Picture Patents Agreement was reached, which standardized the 35mm/4 perf along both sides of each frame [4:3 or 1.33:1]. Later the Academy of Motion Picture Arts and Sciences officially made 1.33:1 the industry standard for a motion picture film. The film speed was standardized as circa 16 frames per second.

Camera, Sound, Safety For Camera Speed, the standard speed is 2 turns per second or 1 foot of film per second. (1 foot contains approximately 16 images). This speed

frame [1.16:1] in order to allow room for Soundtrack. In 1931, a consensus of major studios provided a modification of the Academy Aperture to 1.37 width to 1.0 height [1.37:1]. This ratio remained unchallenged until 1952. Considering the safety from flammable film base, Eastman Kodak introduced 35mm tri-acetate safety base film for replacing the flammable cellulose nitrate base. With development of technology and owing to innovations, a lot of changes were made and new modifications were introduced. Some of these (and basic terminologies of the same) are listed below.

Negative Pulldown The number of file perforations that each film frame occupies is termed as Negative Pulldown. It can be horizontal and vertical as well. The most common film pulldowns are 4-perf and 3-perf, the latter of which is usually used in conjunction with Super 35. 2-perf

was used in 1960s which was lately replaced by digital intermediate techniques.

3-Perf 3-perf is the future of film origination: image quality up, cost down. The modifications to cameras and rush projectors induced considerable reductions in costs and also reduced a lot of wastage resulting in less processing cost. 3perf negatives require going through either a 'Digital or Straight Optical' transfer to deliver standard 4-perf prints for theatre distribution just like Super 16. 3-perf brings a 33% increase of the apparent length of the magazines: a 400 foot roll lasts for about 6 minutes instead of 4½ in 4-perf. As the image is larger, faster stocks can be used which means lighter lighting structures.

2- Perf It uses only 2 perforations per frame which gives an aspect ratio close to 2.39:1. Developed properly by Techniscopewas at Technicolor's Italian branch, Techniscope format uses a 2-perf negative pulldown per frame, instead of the standard 4-perf frame usually exposed in 35mm film photography. Techniscope's 2.33:1 aspect ratio is easily cropped to the 2.35:1 widescreen ratio, because it uses half the amount of 35mm film stock and standard spherical lenses. Continued in next issue…

September-October 2014



What What Exhibitors Exhibitors Should Should

Know About Laser Projectors – Michael Karagosian

Without question, the marketing of laser-illuminated cinema projectors greatly exceeds the degree of education received by exhibitors about this new technology. In my role as co-chair of the ASC (American Society of Cinematographers) Subcommittee on Laser Projection, much information has been learned that should be helpful to exhibitors. It's useful to understand the core technology. Most if not all laserilluminated projectors utilize a class of semiconductor technologies called Vertical Cavity Surface Emitting Lasers. VCSEL technology produces better yields and higher densities per wafer than any prior semiconductor laser technology, reducing cost. There are numerous methods that can be applied to VCSEL fabrication, creating a rich market for niche products from specialist suppliers. This suits a diverse marketplace where iPad quantities are unheard of. VCSEL devices are fabricated to laser at specific frequencies of light. The frequencies required of digital cinema P3 primaries require


September-October 2014

specialized, low volume production. This can result in a non-competitive market where there is a sole supplier: Barco, Christie, and IMAX, for example, obtain their lasers from Necsel, owned by Ushio, a major supplier of xenon lamps (and also the owner of Christie). Specialized production and low volume should be kept in mind when considering the potential for cost reduction. Image quality is often taken for granted, but the truth is that the image quality of laser projectors has yet to be vetted by the filmmaker community. This is not a trivial point. When the transition from film to digital projection was first considered, the MPAA, in a statement from (then) CTO Brad Hunt, dictated: "The picture and sound quality of digital cinema should represent as accurately as possible the creative intent of the filmmaker. To that end, its quality must exceed the quality of a projected 35mm "answer print" shown under optimum studio screening theater conditions." The MPAA's statement was considered a milestone, and applauded widely by

the creative community. Although "answer prints" are now nearly a thing of the past, the sentiment for quality expressed then still resonates within the filmmaker community. Today, that sentiment is applied towards xenon-illuminated imagery in the P3 color space. In spite of this sentiment, the manufacturing community has largely overlooked the filmmaker community, focusing only on the sale of new technology to exhibition. This is not how digital cinema began. TI spent years working with studios and creatives to get its DLP Cinema technology to acceptably color an image. While DCI is the name often associated with the P3 color space, it was TI that pioneered it. TI preserved the quality of its finely-tuned light path by licensing the technology (this is what defined "DLP Cinema"). However, TI has taken a back seat in the development of laser-illuminated projectors, and the projector companies themselves are not undertaking with laser projection the important steps first taken by TI when developing DLP Cinema.

• TECHNOLOGY • A possible rationale for bypassing filmmaker approval is that laserilluminated projectors, with the exception of those from IMAX, utilize the original TI light path and merely substitute a laser-illuminator as the lamp. However, this is not a simple substitution. The frequency spectrum of laser primaries, quite narrow due to the nature of lasers, do not present uniform colors to all eyeballs due to an artifact called metameric failure. Another quality-related issue exists called "speckle." Speckle is seen as moving spots of brightness on the screen (thus the term). As with metameric failure, this problem is also worsened when spectrum primaries are narrow. Quality imagery projected by laser illumination is a nascent practice, and there is no agreed method for measuring speckle. Thus, the measurement you may find from one manufacturer will be meaningless when attempting to compare it with that of another. Speckle is easiest to observe in smooth color patches. As one might sense, a common method could emerge for mitigating the effects of both metameric failure and speckle: wider spectral bandwidths for each primary. The spectral bandwidth of a laser can be as narrow as a single nanometer of wavelength. It could be that 40 nm (a guess) will be enough to satisfy the creative community. But no one has tried this, and trying is easier said than done. While multiple lasers are necessary to achieve high light levels, it requires a manufacturing and selection process which does not exist today. Going back to how VCSEL lasers are fabricated, any deviations in frequency will lead to more specialized production and a higher price tag. 3D can be complicated with laserillumination, with part of the problem self-imposed through lack of agreement among manufacturers. Manufacturers like to tout high 3D efficiency numbers, by sending one set of three primary frequencies to one eye, and a different set of three primary frequencies to the other eye.

(The so-called "six primary" projectors.) When glasses are constructed to allow only one trio of frequencies to each eye, an impressive degree of stereo separation will occur. 3D achieved in this manner uses the spectral filter technique patented by Infitec and licensed by Dolby. However, Barco and Christie, the two companies marketing six primary projectors, chose a different set of primaries for each eye. If one thought Dolby 3D glasses were expensive, the fragmentation in production caused by these diverse paths will only make six primary laser projection 3D glasses more expensive. If one wants to bypass the use of costly glasses and simply use a polarization-preserving screen for polarized 3D (for which, in the US, glasses are free), then a different problem occurs. Some companies polarize laser light as a technique to mitigate speckle. Use of a polarization-preserving screen removes the mitigation, and speckle can be seen. Not everyone uses polarization as a speckle-mitigation technique. Christie prefers to vibrate the screen, rather than attempt electronic methods. Christie's method will work well with polarized 3D, but, ironically, Christie disses polarized 3D. Economics is probably the issue most widely understood about laserillumination. Current pricing falls in the US$8-$10 per lumen range, making these projectors extremely expensive. Projector companies hope to see the per-lumen figure fall by 50%-60%. But quality issues, once properly understood, could drive prices in the other direction, as just

described, offsetting any cost efficiencies achieved. Overall, one has to justify expense with benefits. Aside from higher light level, however, benefits are hard to find. Laser projection was originally touted as an energy-saving projection technology, but that claim is no longer made. While color issues need further examination, there remains the fact that those projectors using the TI DLP Cinema light path will suffer the same limitations in contrast as their xenon-illuminated brethren. Anyone that may think that such projectors can one day be adapted to high dynamic range projection should reconsider that thought. HDR generally requires a larger color space, which will be difficult, or at least inefficient, with the TI DLP Cinema light path. A greater shortcoming, however, is that HDR, by definition, requires high contrast, else one ends up with higher black levels and a washed-out image. TI DLP Cinema is limited to around a 2000:1 contrast ratio, which is insufficient for HDR. It follows that HDR laser projectors will require a different light path than that of DLP Cinema. Laser-illuminated projection is an exciting and promising area, where much exploration and development remains to take place. Those who wish to be on the leading edge of cinema projection will undoubtedly claim bragging rights by installing a laser projector today. And where would we be without such early adopters? But those on the fence might look back to the early days of digital cinema, when 1.2K projectors were first installed, to appreciate the current state of laser projection. (The author Michael Karagosian is President of MKPE Consulting LLC, consultancy for business development of new technologies in cinema, and publisher of mkpeReport)

September-October 2014



Vue Enhanced with

4K Digital!

FIFA World Cup Sony and Vue Entertainment announced a new milestone in live sports entertainment, as two of the 2014 FIFA World Cup matches were streamed live to a UK cinema in stunning 4K(*1) . In a world first, Sony and Vue Cinemas worked with technical partners Eutelsat, DSAT Cinema and IDC to deliver a FIFA World Cup quarter final match and the final in captivating Ultra High Definition at Vue's state-of-the-art multiplex at Westfield, London. Coinciding with rapidly growing consumer interest in 4K, the first ever 4K FIFA World Cup brought an entirely new viewing experience to the world of football and this


September-October 2014

Sony and Vue Entertainment streamed live FIFA World Cup 2014 quarter final and final match at the Westfield London in four times the definition of HD this is said to be the World's first live 4K streamings of FIFA World Cup matches to cinema and Vue Entertainment International switches 400 Cinema Screens to Sony 3D. screening brought the action on the pitch to life like never before. The two matches were streamed live via satellite from the iconic Estadio Jornalista Mario Filho (Maracana) stadium direct to the cinema, and were set to be the most visually spectacular live sports broadcasts to date. Sony has partnered with IDC, Eutelsat and DSAT Cinema to deliver the live 4K screenings, with the companies working together to provide the satellite feed, signal decoding and 4K projection. DSAT Cinema supported

with the commissioning and integration of the equipment, including network and receiver configuration. IDC provided the 4K UHD HEVC video decoder and professional satellite receiver that was installed in the cinema, receiving the 4K satellite feed and delivering the video and audio signal to the Sony theatre projector and audio system respectively. Eutelsat received the signal from Brazil at its teleport near Paris, re-encode it in Ultra HD HEVC at 60 fps and retransmitted it to the EUTELSAT 5 West A satellite for direct distribution to the cinema.

• INSTALLS • The footage at the screenings was shown using Sony's SRX-R320 4K digital cinema projection system. The system was designed to screen 2K, 4K and 3D images in the highest possible quality and ensured the best viewing experience available for cinema-goers. Vue cinemas across the UK are equipped with Sony's 4K digital cinema projection technology. "These live 4K screenings mean we're able to bring an entirely new viewing experience to the world of football," said David Bush, Head of Marketing and Business Development, Sony Professional Solutions Europe. "Sony is excited to be working with FIFA to capture three 2014 FIFA World Cup matches in 4K, making this one of the most significant milestones in sports production in recent years. Sony is providing all 4K cameras and other production technology for the FIFA World Cup broadcast production. We are also in the unique position of being able to offer not only production equipment but also 4K BRAVIA TVs in consumers' homes and 4K projectors in cinemas. The confirmation of these live transmissions to cinema represent another trail-blazing example of Sony's end-to-end leadership in 4K." Bush continued: "These events build on Sony's experience in 4K live production for other application areas. Earlier this year we

cinema, working with the National Theatre to show War Horse live in ultra high definition at the Curzon cinema in Chelsea, London." Steve Knibbs, COO of Vue Entertainment commented: "At Vue we strive to embrace technological innovation in order to deliver the greatest possible experience for our customers. Having installed Sony's 4K projectors across our UK cinemas, we're absolutely thrilled that we're able to underpin the next chapter in live sports entertainment by playing host to ultra high definition screenings of the greatest sporting competition in the world." collaborated with several technical partners to deliver the world's first live 4K stream from a theatre into a

FIFA TV is also producing the Official 2014 FIFA World Cup Film in 4K, which will include match footage

September-October 2014


• INSTALLS • from each of the three games captured in 4K, and is due to be distributed online by FIFA via 4K content distribution services after the 2014 FIFA World Cup. Though tickets was limited, plans were being finalised by the companies involved to offer a few lucky fans the opportunity to attend one of the 4K cinema screenings. For fans not able to enjoy the screenings in the cinema, we're also shown 2014 FIFA World Cup highlights in selected stores across Europe, giving you the chance to experience the thrill of football with match-winning 4K detail and sound on the BRAVIA X95 and X9.

UK, Ireland, Germany and Denmark to Sony Digital Cinema 3D. The phased conversion process is scheduled to start in September this year. It will extend over a three to four year time period, covering a total of 394 screens across the group's Vue and CinemaxX branded European estate. Unlike 'triple-flash' systems that rapidly present different images to each eye in turn, the Sony Digital Cinema 3D dual lens solution provides smooth, immersive flickerfree 3D images without distracting flashing effects. Whether audiences are watching in 3D or 2D, Sony's unique 4K projection technology assures an unparalleled viewing As part of the FIFA TV broadcast production of the 2014 FIFA World Cup tournament, Sony was working with select firms to deliver three matches in 4K - including the quarter final match and the final itself. Sony was also responsible for the provision of all HD venue facilities in each of the 12 venues across Brazil, including systems integration (SI), equipment and staff.

4K 400 Cinema Screens Leading cinema operator Vue Entertainment International is converting up to 400 of its Sony 4K projection systems at screens in the


September-October 2014

• INSTALLS • experience, with market-leading contrast levels plus exceptional colour and clarity. Vue Entertainment International currently deploys a mix of Sony 4K projection systems across its estate, including the flagship R320 and its acclaimed sibling, the R515 that's optimised for medium-sized and smaller screens. The operator also deploys a significant number of Sony Theatre Management Systems (TMS). "We've always been committed to giving audiences the best possible entertainment experience, and standardising on Sony 4K across our estate continues to guarantee fabulous picture quality for every customer at every screen" commented Steve Knibbs, COO of Vue Entertainment International. "Switching to Sony 3D means fabulous picture quality, plus the obvious technical and operational attraction of standardising on an allSony 3D presentation solution at almost 400 of our screens. We're delighted to be further strengthening our successful partnership with Sony Digital Cinema in this way." "Vue is without question one of Europe's most technically innovative and customer-focused cinema operators", noted David McIntosh, Vice President of Sony Digital Cinema 4K Solutions for Europe and the Americas. "This across-the-board changeover to Sony 3D is another hugely significant milestone in our successful and longstanding relationship with the group." Vue's choice of Sony 4K Digital Cinema to give its audiences the best possible movie-going experience dates back to November 2010, when the operator installed its first Sony projector in the Fulham Broadway cinema. Today, Vue Entertainment International offers millions of customers the state-of-the-art viewing experience that only Sony 4K delivers. Alongside conventional theatrical releases, Vue also offers its customers a fast-growing range of live and prerecorded alternative content, from sporting events to music concerts, opera and ballet. September-October 2014


• INSTALLS • Kansas Cinetopia with

Three Massive GXL Screens For its first location outside of the Northwest, the Cinetopia theatre chain has built three massive GXL screens, each equipped with a Meyer Sound cinema system and Dolby Atmos. Named Overland Park 18, this eastern Kansas theatre complex boasts close to 200 Meyer Sound cinema loudspeakers. "When we played our demo reel, we would hear a gleeful chuckle and hear comments like, 'I've never heard anything like that before,'" says Rudyard Coltman, owner of Cinetopia. "We pride ourselves on the fact that we've been told this theatre is 10 to 15 years ahead of the industry in the technology and amenities it offers." The local media also noted the lifelike detail of the Meyer Sound cinema loudspeakers. "When I heard the rain falling on screen, I could make out the drops, not just a swoosh," writes Jeneé Osterheldt, lifestyle columnist for The Kansas City Star. All three GXL rooms feature five Acheron 100 and five Acheron LF screen channel loudspeakers as well as eight X-800C high-power cinema subwoofers and two 500-HP subwoofers for low-end reinforcement. In addition, the slightly larger Screen 1 utilizes 20 HMS-10 and 18 HMS-12 surround loudspeakers with IntelligentDC technology, while Screens 2 and 3 each deploy 42 HMS-10 and 6 HMS12 loudspeakers. Each system relies on a Galileo loudspeaker management system with one Galileo 616 processor for drive and optimization. "Meyer Sound is a core component of our GXL concept," states Coltman. "Other cinemas offer their brand for a premium, large-scale format, but GXL stands apart in all respects, including sound. It's a nocompromise approach, and Meyer Sound is an integral part of it."


September-October 2014

In addition to the Meyer Sound implementation of Dolby Atmos, Cinetopia's GXL rooms offer giant screens up to 75 feet wide and four stories high, 4K digital projection, and steeply raked coliseum seating with high-backed reclining seats. Meyer Sound cinema systems are also installed at Cinetopia locations Progress Ridge 14 in Beaverton, Ore. and Washington state's Vancouver Mall 23, which features Dolby Atmos. According to Coltman, Cinetopia will continue its national expansion, with its next luxury complex slated to open in the Dallas suburb of

Lewisville. "Meyer Sound is ingrained in the GXL brand, so it's part of what people identify as the unique experience found only in our theatres," says Coltman. Built for linear reproduction, Meyer Sound cinema systems are ideally suited for immersive formats like Dolby Atmos as the loudspeakers faithfully reproduce soundtracks with greater headroom, lower distortion, and superior uniformity. IntelligentDC technology is available in all Meyer Sound surround models to offer the advantages of selfpowered, bi-amplified systems.


22-26 September 2014 St. Petersburg • Russia Kino Expo is one of the world’s largest film industry trade fairs. Kino Expo is the gateway to world’s fastest growing cinema and entertainment industry markets of Russia and neighboring countries This year it covered an area of 7,000 square meters and there were over 3,000 people who attended the convention. The trade fair included a series of Russian and foreign film premieres, a discussion on the most pressing issues facing the industry, and presentations of the latest technical solutions. The Kino Expo International Convention & Trade Fair was started back in 1999, in the foyer of the historic Leningrad Cinema in St. Petersburg. Now celebrating its 16th year, the show took place from September 22-26 at the LenExpo exhibition complex in St. Petersburg.

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. Also present were 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. Federal and regional government officials, who oversee film production, distribution and exhibition and Mass media representatives.

The Exhibitors participating at Kino Expo find it the most effective way to present and market their company’s products and services. The exhibitors participating cater to all sectors of the cinema industry like film exhibition, distribution, production, and also to entertainment segment of the shopping malls, from all regions of Russia and countries of the former USSR. The Exhibitors were quiet thrilled with the attendees at the show which included Cinema exhibitors from all regions of Russia and neighboring countries, both

September-October 2014


Topics that were discussed and Seminars held at the Kino Expo are below. Methods for Recording and Playback of 3D Images - Oleg Raev, Head of the Department of Audiovisual Technologies, All-Russian State University of Cinematography named after S. A. Gerasimov (VGIK) Digital Signage, the Next Evolution by XPAND in Your Cinema - David Chechelashvili, Head of Consumer Division at XPAND 3D

Complete Business Planning For Cinemas: New Projects Risks to Avoid - Anton Fedorenko, Technical Director, Anatoly Chernikov, Commercial Director 3D & SCDiamond - Alain Chamillard, CEO, Volfoni

Mobile Monitoring of Cinema Equipment in Real Time CineGate Alexander Pindik, Service Engineer

Doremi News, Latest Features and Innovations - Brent Watson, Technical Support Manager (Europe), Doremi

Laser Projection for Premium Cinemas - Goran Stojmenovik, Barco

The importance of Quality, Measurement and Calibration of Screenings - Jérôme Brulon, Sales Director, Highlands Technologies

Costs Reduction and Screening Quality Improvement in Cinemas Artem Shiryaev, Managing Partner Laser: Light Source of the Future Jens Kayser, Sales Manager, Digital Cinema Central/Central East Europe Active and Passive 3D by XPAND before Laser Revolution - David Chechelashvili, Head of Consumer Division, XPAND 3D New Audience to Cinemas and Increasing Cinema Attendance Colin Robinson, Global Customer Director, The Coca-Cola Company Cinema Concession Business Innovations - Alexander Gelstein, President, Technika +, Bruce Proctor, President, Proctor Company, Bob Shimmin, Owner and Principal Consultant, Consessions Guru LLC Food Service in Cinemas: Latest Trends - Alexey Ilyin, business-coach, cinema and F&B expert, Delovaya Rus Bringing a New Immersive Movie Viewing Experience into Cinemas Philippe Roy, Chief Business Development Officer, D-BOX Harkness Apps & Screen Optimisation - Matt Jahans, Technical Director, Harkness TicketSoft Innovation IT Solutions – Mobile Applications for Cinemas (iPhone) - Sergey Kravtsov, CEO, TicketSoft


Total Polarization! New 3D Systems and Relevant Tendencies - Anatoly Chernikov, Commercial Director

September-October 2014

GetD UHB Plus GK900 3D System Presentation - Peter Ruan, CEO, GetD What Do We Learn About Our Audience From the Surveys - Olga Pilnikova, Marketing Director, IMAX Russia and CIS Attendance Index in Cinema Chains Xenia Leontieva, Senior Analyst, Neva Research Film Exhibition Marketing – Using it to Increase Audience Loyalty - Elena Brodskaya, Walt Disney Studios Sony Pictures Releasing Interim Report on the Federal System of Box Office Monitoring Operator Fedor Sosnov, Head of Department, Analytical Department of Federal Fund for Social and Economic Support to National Cinematography Event Hall in the Cinema - Ivan Dolya, Planning Department Engineer, Nevafilm Film Exhibition Tendencies Development In New Reality - Andrey Bely, Analyst, Booker’s Bulletin, Alexander Dyakov, Analyst, Cinemaplex, Oleg Ivanov, CEO, Kinoexpertiza, Xenia Leontieva, Senior Analyst, Neva Research, Alexander Luzhin, Analyst and Partner, Movie Research Muvik Children Screenings - Evgenia Startseva, Head of Marketing, Formula Kino

Cinematic Childhood Project Tamara Tarasova, CEO, Kinodetstvo Christie Audio Solutions - Ede Gaal, Technical Services Manager, Eastern Europe and Russia, Christie Cinema Design and The New Generation of Movie-goers - Jack Muffoletto, Owner, TK Architects Dolby Atmos: 2 years in Russia Alexander Rozanov, Cinema Production Director, Dolby CIS Digital Signage: HoReCa and Film Exhibition Business Innovation Union - Andrey Kravchuk, Head of Digital Signage Project, HoReCa Kinomatika The Modern Tendencies in Architecture and Design of Movie Theater, Such as Boothless Projectors, New Types of Auditoriums, Modern Interior for Foyer of the Cinema, Recognizable Entrance, Ticket Office and Concession Bar - David Mesbur, Owner, Mesbur & Smith Architects What’s New in the Booth: Come and Discover our Selection of New Projectors, TMS, Bulbs and 3D systems - Mikhail Terentev, Head of Technical Department, dcinex Russia, Christophe Lemort, Product Manager, dcinex, Tore Mortensen, Deputy Head of European Digital Cinema Sales, Sony Precision White Screen Technology: Development Perspectives - Thomas Scheer, Manager, MW Screens Usage of Automatic Terminals Federal Chain of Cinemas - Andrey Alikberov, Technical Director, Formula Kino Combining Ticket Office and Bar Terminals in Cinema Chains Vladimir Mochalkin, Technical Director, Imperia Grez New Trends in Box Office Reporting Methodology in Russia. Renrak System, New Version - Roman Isaev, CEO, Rentrak Russia


12-16 October 2014 Gold Coast, Queensland

The 69th Australian International Movie Convention will be held at Jupiters Hotel & Casino on Queensland's Gold Coast from October 12-16. Executive Director of the AIMC, Michael Hawkins, says this annual event has become a must on the industry calendar for the Australian, New Zealand and Pacific region as it offers those in production, distribution, cinema exhibition and allied trades an unparalleled opportunity to come together as an industry. "The AIMC always seeks to build a strong and diverse program which caters for all our delegates, whether they be independent or regional cinema operators, major circuits, distributors, producers looking to forge strategic alliances, or suppliers with innovative products and services to optimise the cinema-going experience", says Hawkins. "This year I know we will see some very strong product, ahead of what many have forecast as a strong box office year in late 2014/2015. We will be off to a good start as the AIMC Opening Night hosts the Australian Premiere of the Universaldistributed Working Title film 'The Theory of Everything'".

"Also, as a special supplementary initiative of the 2014 AIMC, we will present a Distribution Symposium at the end of the week to provide film students with the opportunity to hear about some of the challenges and opportunities relating to our industry, many of which they will need to consider as future industry participants".

Entertainment One Films, Icon Film Distributors, Madman Entertainment, Palace Films, Pinnacle Films, Potential Films, Sharmill Films, Studio Canal, Rialto Distribution and Umbrella Films.

Here is an overview of AIMC 2014:

Upcoming Australian movie, 'Stalkher', will feature in a special presentation by director, producer & star John Jarratt.



The major Hollywood distribution companies of Paramount Pictures, Sony Pictures Releasing, Twentieth Century Fox, Universal Pictures, Walt Disney Studios Motion Pictures and Warner Bros. will present previews and footage from their product slated for late 2014 and 2015 release.

A wide range of current industry issues addressed by local and international experts are on the agenda for this year's AIMC convention.

The Australian Independent Distributors Association (AIDA) will have product presentations and movie screenings throughout the four days of the convention, including Dan Gilroy's crime drama, Nightcrawler, about a young man who stumbles upon the underground world of L.A. freelance crime journalism, starring Jake Gyllenhaal, and Love is Strange, a drama starring John Lithgow, Alfred Molina and Marisa Tomei. AIDA member companies include Becker Film Group, Curious Film,

AIMC Executive Director Michael Hawkins says he is delighted to welcome John Fithian, CEO of the National Association of Theater Owners (NATO) back to the convention this year to join a panel discussion titled 'Future of Cinema' which will also feature panellists from Dolby Laboratories, Christie Digital and Village Cinemas Australia. Hawkins says this year's program is full and diverse. "There is something for everybody. Whether it is RealD presenting their recent research findings on 3D Trends in Australia

September-October 2014







or Christie Digital's sessions Tomorrow's Innovation Today and Future-Proofing the Sound Experience in your Theatre; or the IP Awareness Foundation sharing research on the way Australians watch movies, there will be much information to keep delegates abreast of current trends and future directions." "I am delighted to announce that the Natalie Miller Fellowship will deliver a presentation on inspiring the future female leaders of the screen industry. Plus will introduce a revolutionary platform that guarantees packed sessions - I'm expecting that one to be popular."






The Trade Show will be at capacity, with several new suppliers exhibiting alongside regular suppliers for delegates interested in expanding, refurbishing, converting or upgrading equipment to view the latest products and trends.

THE AWARDS Various Industry recognition awards will be given at AIMC 2014, ranging from independent distributors recognising excellence in cinema operation, to highest grossing box office results for movies distributed in the previous 12 months, to peerassessed awards for Excellence in Film Craft and Lifetime Achievement.





September-October 2014

AIMC delegates regularly provide feedback that the opportunity to network with colleagues, stakeholders and industry associates is an invaluable part of the convention experience. The Deluxe Network Bar will operate each evening after the close of the day's official program. The

Gala Convention Wrap function will provide an exciting finale to a busy week, with entertainment, dancing, fun and the presentation of some major industry achievement awards.

THE PARTNERS AIMC Marketing and Sponsorships Manager, Christine Pitcher, says the support of many partner organisations makes the AIMC possible. "Every contribution of funds, equipment and personnel contributes greatly to our ability to provide a world-class industry event that we are very proud to present", says Pitcher. "The Queensland Government provides support through various funding bodies including our Presenting Partner, Tourism and Events Queensland as well as Screen Queensland and the City of Gold Coast." "The conversion of the Jupiters Theatre is made possible through the support of the Hoyts Cinema Technology Group, Christie Digital, Deluxe Australia, RealD, Dolby Laboratories, Doremi, Dreamweavers, Harkness Screens and Jupiters Gold Coast. The quality presentations in the Jupiters Theatre are coordinated and managed by Event Technology Consulting".

THE VENUE Jupiters Hotel & Casino on Broadbeach Island, Gold Coast, provides a venue that allows delegates to easily move between the distributor screenings in the Jupiters Theatre, to the seminars and networking functions in the Pavilion Ballroom and the Trade Show and lunches in the Pavilion Marquee.


27-30 October 2014 Florida, USA

ShowEast 2014, the movie industry's premier networking event will again be held at the Westin Diplomat Resort & Spa in Hollywood, Florida from 27th to 30th October 2014. As always, ShowEast will continue to include educational seminars, Hollywood film screenings, product presentations, International Day for the Latin American market, and the Final Night Banquet and Awards ceremony hosted by Coca-Cola. This time they have changed the format of ShowEast based on the feedback. •

More Networking opportunities, Dedicated social areas with extra time allotted for gathering to meet with peers.

Expo - The previous format of the ShowEast Tradeshow has been enhanced and it's now called Expo 2014. There will be minimal conflict between the Expo and other events, and all new meeting rooms and suites to conduct one-onone business at your convenience.

NEW Social Events Open events to bring everyone together to celebrate the

movie industry including a Happy Hour, an Opening Night Dinner on the Expo 2014 floor and several fun, themed events. ShowEast is the place to be, if you want to do business with the multi-

billion dollar cinema exhibition and distribution communities. Each year, more than 1,300 cinema exhibition and distribution professionals with enormous purchasing power come to the


September-October 2014



ShowEast trade show to buy equipment and services to better run their businesses. Major, Regional and Independent circuits throughout the US and internationally attend ShowEast to make their purchasing decisions.

ShowEast is attended by Theatre Operators/Owners, Film Buyers/ Bookers, Distributors, Concessions Buyers, Theatre Design/ Construction Professionals, Equipment Manufacturers,


September-October 2014


Krain Media


Arts Alliance Media


Magna-Tech Electronic



Mobiliiario Sa De Cv


Ballantyne Strong Barco

ShowEast helps you in expanding your reach in the market, while making new contacts which are necessary for business growth. The show helps you plant seeds for future deals and grow your customer base. At ShowEast you can debut your products, services and technologies. The place helps you in networking among your colleagues and helps in building new relationships. At ShowEast you can see major studio and independent feature films slated for Holiday release to help you make informed programming decisions, Getting the latest information on issues affecting the industry such as: Digital Cinema; 3D; Alternative Content; Concessions and much more, to stay current with industry trends, Special programming for the Latin American market, Network at sponsored special events and find the products, services and technologies you need at the trade show to make your theatre a must-attend destination.

ACS Enterprises

318 & 319

Moving Image Technologies

314 320

Benchmark Games



C Cretors & Co



Callahan Digital




Camatic Seating


Omniterm Data Technology



Paradigm Design


China Film Giant Screen Christie Digital

615, 212 & 213

204, 307


501 107



Plusrite Specialty Lighting

Cinema Scene Marketing


Ready Theatre Systems


Datasat Digital


Retriever Software





Schneider Optics


Embedded Processor Designs


Seating Concepts






First Class Seating


Stadium Savers

Franklin Designs



Dolby Doremi

GDC Technology

301, 207

308, 309

323 202, 321

Tempo Industries


Gold Medal



Golden Link


TK Architects


Harkness Screens




High Performance Stereo




Inorca Seating


VIP Cinema Seating

Integ Process Group


Vista Entertainment

Irwin Seating



Jack Roe


Walt Disney Studios



Xpand 3D

Pub Bin

201 209, 504 705 301 & 322 604

Marketing/Media Professionals and Advertising Agencies.

Some of the topics to be discussed at this year's expo are as following:

Award Presentations

Latin American Market On The Upswing

Bingham Ray Spirit Award - Randy Ostrow, Independent Producer

Global Roundtable

Monetizing Your Digital Investment

ShowEast University by ICTA and NAC

Immersive Seating

Lasers vs. Xenon

Cinema it System - Out of the Booth

Al Shapiro Distinguished Service Award - Jody and Stan Reynolds, Sr., Reynolds & Reynolds Inc. Salah M. Hassanein Humanitarian Award - Malco Theatres, Accepted by Bobby Levy Show "E" Award - Ken Caldwell, Walt Disney Studios Motion Pictures

Awards & Honors @ ShowEast 2014 Bingham Ray Spirit Award - Film Producer Randy Ostrow with Film producer, Randy Ostrow, will be honored with the ShowEast 2014 Bingham Ray Spirit Award during the Final Night Banquet & Awards Ceremony hosted by The Coca-Cola Company, on Thursday, October 30th at the Westin Diplomat Resort and Spa in Hollywood, Florida. The Bingham Ray Spirit Award was established in 2012 in honor of the late Bingham Ray, one of the most beloved people in the independent film world. This award is bestowed up an individual who has shown exemplary foresight and creativity in the world of independent film. “It is with great pleasure that ShowEast will honor Randy with the Bingham Ray Spirit Award,” stated Andrew Sunshine, Co-Managing Director of the annual event. “When it comes to producing independent films that are entertaining, enlightening, and sometimes push boundaries, Randy is without rival.” Randy follows in the footsteps of these previous Bingham Ray Spirit Award winners: Richard Abramowitz, Eamonn Bowles, Ben Barenholtz, Tom Prassis, and Arnie Sawyer. Randy Ostrow began his film career in the late 1970s in New York, where he worked on a variety of lowbudget projects, before deciding to try his hand at producing, beginning in 1985. In 1988, Randy co-produced Paramount Pictures' Let It Ride, starring Richard Dreyfuss, and in 1990 he produced State Of Grace, starring Sean Penn, Gary Oldman, and Ed Harris, for Orion Pictures. Boaz Yakin’s Fresh, which he produced in 1993, appeared in the New Directors Series at the Museum of Modern Art; was in competition at the 1994 Cannes Film Festival; and won the Film Maker's trophy at the 1994 Sundance Film Festival. He co-produced The Jerky Boys for Caravan Pictures in 1994, and then

produced the Vietnam Sequence of the Hughes Brothers' Dead Presidents, also for Caravan, in 1995. He produced Julian Schnabel's Basquiat, a biography of the painter Jean Michel Basquiat, for Miramax in 1995, and then served as Executive Producer for M. Night Shayamalan’s Wide Awake. International Exhibitor of the Year - Cinépolis’ Eduardo Acuña Eduardo Acuña, CEO of Cinépolis in Brazil, will be honored with the ShowEast 2014 International Exhibitor of the Year Award during the International Awards Program on Monday morning, October 27th at the Westin Diplomat Resort and Spa in Hollywood, Florida. “ShowEast is very pleased to be able to bestow the International Exhibitor of the Year Award to Eduardo Acuña for his remarkable achievements,” stated Andrew Sunshine, CoManaging Director of the annual convention. “Because of Eduardo’s leadership, Cinépolis has realized tremendous growth in a very short period of time and has been heralded as an exhibition leader in Brazil.” Eduardo joined Cinépolis in Mexico in 2005 as the head of the Financial Planning and Supply Chain Departments where he headed the first digital conversion efforts. From Mexico, he moved to Brazil in 2010 to lead Cinépolis’ entrance into the Brazilian market, opening its first multiplex in June of 2010. In just over four years, Cinépolis Brazil now operates 40 multiplexes comprised of over 300 screens in 30 cities across the country. It is the second largest exhibition group in Brazil in terms of screens, revenues, and attendance and has delivered unseen growth in South America. In its four years of existence, Cinépolis Brazil has won awards for best cinema in São Paulo and Rio de Janeiro from the most influential magazines and newspapers in the country.

Furthermore, Cinépolis Brazil has been recognized with the ED Prize for best Exhibitor Group in Brazil in 2011, 2012, and 2013. This award is particularly relevant since it's voted on, and awarded by, all distributor groups in Brazil. Finally, under Eduardo's leadership, Cinépolis Brazil has made two acquisitions consolidating its presence in the market. Show “E” Award - Disney’s Ken Caldwell Ken Caldwell, Senior Vice President, North American Theatrical Sales, Walt Disney Studios Motion Picture Distribution, will be awarded the 2014 Show “E” Award at ShowEast during the Final Night Banquet & Awards Ceremony hosted by The Coca-Cola Company, on Thursday, October 30th at the Westin Diplomat Resort and Spa in Hollywood, Florida. The annual “Show “E” Award” is presented to an industry member whose achievements, accomplishments, and dedication to the industry are unequalled. “ShowEast is truly honored to be able to bestow Ken Caldwell with this year’s Show ‘E’ Award,” noted Andrew Sunshine, Co-Managing Director of the annual convention. “For over 30 years, Ken has devoted himself to the distribution of blockbuster Walt Disney Studios films to delighted audiences in North American and Canadian theatres, as well as to US armed forces and their families.” As Senior Vice President, North American Theatrical Sales, Walt Disney Studios Motion Picture Distribution, Ken oversees the theatrical distribution of all The Walt Disney Studios films throughout the United States, Canada, and their territories, including Disney, Disneynature, Pixar, Marvel, Lucasfilm, and Touchstone releases. He has been a distributor of every Disney film from the 1986 release Down and

September-October 2014


Awards & Honors @ ShowEast 2014 Out In Beverly Hills to the recent hit releases of Disney’s Frozen; Maleficent; and Marvel’s Captain America: The Winter Soldier, including all 14 Pixar films and all four films of the Pirates of the Caribbean franchise. Of the 509 titles Ken has helped distribute at Disney, more than 80 have passed $100 million in domestic gross and more than 30 have passed the $200 million plateau. A 33-year industry veteran, Ken has taken on roles of increasing responsibility and strategic planning for over 30 years with The Walt Disney Company. Before assuming his current role in 2011, Ken served as Vice President of Sales for the Eastern Division starting in 2003 and as Vice President of Sales for the Southeast Division starting in 1999. Prior to joining Disney, Ken was a film buyer for General Cinema Theaters. Among Ken’s accomplishments, he has been a champion of Disney’s support for the military and their families, helping Disney become the first major studio to bring first-run films directly to Army and Air Force Exchange theatres in the continental United States. This summer, Disney and The Exchange will host screenings at the LewisMcChord base in Tacoma as well as Bagram Air Field in Afghanistan. Al Shapiro Distinguished Service Award - Jody And Stanley J. Reynolds Jody Reynolds, Secretary of the Board for Reynolds & Reynolds Inc., and Stanley J. Reynolds, President/ CEO of Reynolds & Reynolds Inc. will receive the 2014 Al Shapiro Distinguished Service Award at ShowEast during the Final Night Awards Ceremony on October 30, 2014 at the Westin Diplomat Resort and Spa in Hollywood, Florida, hosted by The Coca-Cola Company. Each year, the Al Shapiro Distinguished Service Award honors


September-October 2014

those who best represent the ideals and standards that the late Al Shapiro set during his distinguished career. It epitomizes his dedication, care and concern for the betterment of people within the motion picture industry. “Jody and Stan have selflessly dedicated themselves to making a difference in the lives of children through their many charitable endeavors,” stated Andrew Sunshine, Co-Managing Director of ShowEast. “They are well-known throughout the theatrical exhibition industry in the US for creating a unique insurance program for motion picture theatres. I cannot think of two people more deserving of receiving this year’s Al Shapiro Distinguished Service Award.” Jody and Stanley J. Reynolds are the Secretary of the Board, and President/CEO, respectively, of Reynolds & Reynolds, Inc., Insurance Agents & Brokers. Stan founded the company in 1976 and it has grown from two people to one of the largest independent insurance agencies in Iowa. Reynolds & Reynolds is a full service insurance agency for property, casualty, employee benefits, bonds, life, and personal lines, and it has a special nationwide program for movie theatres. Iowa special programs include The Iowa School Board Association (ISEBA); The Iowa Bar Association; and The Iowa Home Builders Association. Special departments include transportation, construction, energy, and manufacturing. Jody Reynolds has spent much of her time working for charitable endeavors, most notable Variety- the Children's Charity of Iowa, becoming the first woman president after serving in various capacities. She has been instrumental in the success of the Variety Telethon in Iowa for 40 years. It has grown from $151,000 in 1975 to $4,101,023 in 2014.

Jody has been an International Officer of Variety- the Children’s Charity since 1987, serving as International Ambassador; International Fund Raising Chair; and Vice President. She was elected Sr. Vice President in London in 2000 and she was the first woman elected International President in April 2001 in Barbados. Salah M. Hassanein Humanitarian Award (as They Prepare to Celebrate Their 100th Anniversary) - Malco Theatres Malco Theatres, Inc. will receive the 2014 Salah M. Hassanein Humanitarian Award at this year’s ShowEast Convention. The award will be accepted by Stephen P. Lightman, President and CEO, on behalf of Malco. This distinguished honor will be presented on Thursday evening, October 30, 2014, at the Westin Diplomat Resort and Spa in Hollywood, Florida as part of the Final Night Banquet and Awards Ceremony at ShowEast. This also marks the official kick-off for a year's celebration of their 100th anniversary. The Salah M. Hassanein Humanitarian Award was established in 1987 and has been presented to a leader in the industry each year that has distinguished him or herself in the philanthropic community. “It is with great pride that we announce Malco Theatres as the 2014 recipient of the Salah M. Hassanein Humanitarian Award,” noted Robert Sunshine, Managing Director of the annual convention. “Family owned and operated for nearly100 years, Malco has not only brought entertainment to the Southern United States, but has given back to the community through their numerous charitable endeavors.”

entertainworld Cineworld Telford is

Now Open!

September-October 2014


entertainworld Cineworld, the UK's leading cinema chain announced a new opening at the highly anticipated Southwater Square development in Telford. The new cinema features Starbucks and a Baskin Robbins, as well as 11 screens, including an IMAX cinema and a cinema featuring D-Box seating, ensuring customers will receive an even better and bigger cinema experience. Cineworld Telford will screen the latest blockbusters, including the long awaited Inbetweeners 2 from

August 8th and action packed Expendables 3 on August 14th. In addition to screening the latest Hollywood releases, the cinema will host unique live event cinema throughout the summer. Cineworld's Movie for Juniors will also be offering discounted weekly screenings of kids films at Cineworld Cinemas for just ÂŁ1.50 and only ÂŁ3.00 for the 3D experience. Phil Jones, Cineworld Telford General Manager, comments,


September-October 2014

entertainworld sharing our passion for film with everyone in the local area." Andrew Cripps, IMAX EMEA President, adds, "Our valued partner Cineworld shares our commitment to providing audiences with unforgettable, state-of-the-art entertainment experiences. With the opening of the Cineworld Telford IMAX theatre, we are yet again building on our successful relationship and are delighted to offer more audiences the biggest blockbusters in the world's most immersive format."

"We're absolutely thrilled to be unveiling the cinema, bringing a new and exciting entertainment option to Telford. At Cineworld, we want to offer a great experience for all our customers, making their trip as unique and memorable as possible. IMAX offers a truly unique cinema experience and we're excited it's a part of our new cinema. With such an exciting line-up of films this summer, we look forward to welcoming the community and

September-October 2014


entertainworld The Cineworld Telford IMAX cinema offers moviegoers a truly immersive cinematic experience, allowing them to enjoy the biggest blockbusters like never before. IMAX's cutting-edge projection system, which delivers crystal-clear images, coupled with IMAX's customized theatre geometry and powerful digital audio, creates a unique environment that makes audiences feel as if they are in the movie. Every movie presented in IMAX cinemas has been digitally remastered into the image and sound quality of The IMAX Experience with proprietary IMAX DMR (Digital Remastering) technology. Guest of the Cineworld Telford IMAX cinema will be able to enjoy some of the year's most anticipated films including: Guardians of the Galaxy; The Equalizer; Dracula Untold; Teenage Mutant Ninja Turtles; Interstellar and The Hobbit: Battle of the Five Armies. Local Cineworld Unlimited Card holders can also enjoy access to an unlimited number of films per month for less than the price of two newrelease peak time tickets. Customers can opt to receive all the latest film information, including a weekly email with film times for Cineworld in Telford and plenty of other great offers.


September-October 2014



A glimpse of movies coming soon‌ Gone Girl

Left Behind Production 20th Century Fox

Production Stoney Lake Ent.

Director David Fincher

Director Vic Armstrong

Starring Ben Affleck, Rosamund Pike

Starring Nicolas Cage, Chad Michael

Genre Drama, Thriller

Genre Action, Adventure


Addicted Production New Line Cinema

Production Lionsgate

Director John Leonetti

Director Bille Woodruff

Starring Annabelle Wallis, Ward Horton

Starring Sharon Leal, Boris Kodjoe

Genre Horror, Thriller

Genre Drama

The Hero of Color City

Dracula Untold

Production Magnolia Pictures

Production Universal Pictures

Director Frank Gladstone

Director Gary Shore

Starring Christina Ricci, Rosie Perez

Starring Luke Evans, Sarah Gadon

Genre Animation

Genre Action, Adventure

September-October 2014


F U T U R E The Judge

Fury Production Warner Bros.

Production Columbia Pictures

Director David Dobkin

Director David Ayer

Starring Robert Downey Jr., Robert Duvall

Starring Brad Pitt, Shia LaBeouf

Genre Comedy, Drama

Genre Action, Drama

One Chance

John Wick Production The Weinstein

Production Lionsgate

Director David Frankel

Director David Leitch

Starring James Corden, Julie Waters

Starring Keanu Reeves, Michael Nyqvist

Genre Biography, Comedy

Genre Action, Thriller

The Best of Me

Ouija Production Relativity Media

Production Universal Pictures

Director Michael Hoffman

Director Stiles White

Starring Michelle Monaghan, James Marsden

Starring Olivia Cooke, Daren Kagasoff

Genre Drama

Genre Supernatural Thriller

The Book of Life


September-October 2014


The Identical

Production 20th Century Fox

Production Freestyle Releasing

Director Jorge R. Gutierrez

Director Dustin Marcellino

Starring Diego Luna, Channing Tatum

Starring Ray Liotta, Ashley Judd

Genre Animation, Comedy

Genre Drama, Musical

F U T U R E Nightcrawler

R E L E A S E S Dumb and Dumber To

Production Open Road Films

Production Universal Pictures

Director Dan Gilroy

Director Bobby Farrelly, Peter Farrelly

Starring Jake Gyllenhaal, Rene Russo

Starring Jim Carrey, Jeff Daniels

Genre Thriller

Big Hero 6

Genre Comedy

Foxcatcher Production Walt Disney

Production Sony Pictures

Director Don Hall

Director Bennett Miller

Starring Ryan Potter, Scott Adsit,

Starring Steve Carell, Channing Tatum

Genre Animation

Genre Drama

The Hunger Games: Mockingjay - Part 1

Interstellar Production Paramount

Production Lionsgate

Director Christopher Nolan

Director Francis Lawrence

Starring Matthew McConaughey

Starring Jennifer Lawrence, Josh Hutcherson

Genre Sci-Fi

Genre Action, Sci-Fi

Beyond the Lights

Escobar: Paradise Lost

Production Relativity Media

Production RADiUS-TWC

Director Gina PrinceBythewood

Director Andrea di Stefano

Starring Gugu Mbatha-Raw, Nate Parker Genre Thriller

Starring Benicio Del Toro, Josh Hutcherson Genre Biography, Drama

September-October 2014



Horrible Bosses 2

Production Red Chillies Ent.

Director Sean Anders

Director Farah Khan

Starring Jason Bateman, Charlie Day

Starring Shah Rukh Khan, Deepika Padukone

Genre Comedy

Genre Comedy

Super Nani

Production 20th Century Fox,

Production Maruti International

Director Simon J. Smith

Director Indra Kumar

Starring Tom McGrath, Chris Miller

Starring Rekha, Sharman Joshi

Genre Animation, Comedy

Genre Drama

Kill Dil

Bang Bang! Production Fox Star Studios

Production Yash Raj Films

Director Siddharth Anand

Director Shaad Ali Sahgal

Starring Hrithik Roshan, Katrina Kaif

Starring Ranveer Singh, Parineeti Chopra

Genre Action, Romance

Genre Romance


September-October 2014

Happy New Year

Production New Line Cinema

Penguins of Madagascar



I (Tamil) Production Utv Motion

Production Aascar Films

Director Vishal Bhardwaj

Director Shanka

Starring Shahid Kapoor, Shraddha Kapoor

Starring Vikram, Amy Jackson

Genre Drama

Genre Romantic, Action, Thriller

September-October 2014


TheatreWorld ::: September-October 2014  
TheatreWorld ::: September-October 2014  

TheatreWorld is a guide to the cinema exhibition industry and technical design of a movie theatre published by Network208. TheatreWorld is t...