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MINDSHARE THEATREWORLD EDITORIAL

And the Oscar goes to… Birdman… Birdman…

Issue # 68 March-April 2015

Birdman… resonated the Dolby Theatre in Hollywood, Los Angeles on February 22, 2015. Birdman or (The Unexpected Virtue of Ignorance) and The Grand Budapest Hotel bagged the most nominations with nine each. Although Birdman made waves at the Oscars, it couldn’t whip up the box office for the exhibitors. Most of the movies do well at the box office post Oscars but Birdman didn’t soar as expected. The year began high on services and low on product innovations. The saga of Lasers continues with laser projectors getting shipped widely; Cinepolis becomes the first exhibitor in Latin America to install laser projectors. QSC’s Amplifier

Raghavendra T

Navigator Software is an innovative product to remotely control and monitor all

Editor-Publisher +91 9980 208 208 raghav@network208.com

functions of connected DPA amplifiers, including channel configuration, crossover and EQ filter setup. Cinema chains are working strongly on true value proposition for cinema-goers. A movie-goer is the most important aspect for the cinema exhibition business. Exhibitors are leaving no stone unturned to engage the audiences in and out the auditorium with heady entertainment mix and exciting promotional offers at concession stands. Immersive sound or 4K picture quality – what matters most to

Sandeep Mittal Founder Editor Publisher

Authors & Writers Asra Shaheen Heti Dave Michael Karagosian Savita V Jayaram

cinema-goers is easy buys, good ambiance, great comfort and value for money. Clancy D’souza Indian exhibitors are yet to see another blockbuster after PK. No festival release, no big budget movies or megastar mania – it was cricket that stole the show as cinema exhibitors waited and watched! WorldCup went to the Aussies and all of India’s eyes are now on the upcoming IPL season. It was curtains down for some of the iconic single-screen cinemas. Even as the news and speculations around the continuation of the screening of DDLJ at the famous Maratha Mandir in Mumbai kept broiling; some of the old single-screen cinemas in the other cities were shut down. While Narthaki-Sapna in Bangalore is on the verge of demolition, the five-decade-old Shanthi Theatre in Chennai will turn into an entertainment centre. India produces more than 1000 films annually, the highest number of films produced in a single year world over, and yet we have only about 10 screens per million viewers. As Cinemark, the #2 multiplex chain in the world, receives the Global Achievement Award in Exhibition at this year’s CinemaCon, TheatreWorld catches up with Valmir Fernandes, President of Cinemark. To be held at Las Vegas, CinemaCon 2015 is the largest cinema exhibition world over. Like every year, TheatreWorld is the media partner at CinemaCon 2015 and the China Theater & Cinema Expo 2015, to be held at China Import and Export Fair Pazhou Complex, Guangzhou, China. Raghavendra T Editor-Publisher

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Sales & Marketing +91 78753 29282 clancy@network208.com

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 info@network208.com www.network208.com

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.


contents

This issue of TW has two sets of page numbers - International pages TW-1 to TW-60 for TW, and India pages TM-1 to TM-20 for TM. TM is inserted between pages TW-54 and TW-55 of TW.

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SPECIAL STORY TW-24

Cinemark Playa Vista and XD

TW-26 Valmir Fernandes Making a Mark with Cinemark

TW-29

Embassy Diplomat Screens

Grandeur Cinema at Your Service

TECHNOLOGY TW-37

Film Format Series - IV

Explaining Various Film Formats Over the Years!

SPECIAL STORY

Technologically Advanced

TW-38 Michael's Green Paper

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Brian Hall Thinking Luxury in Cinema!

INSTALLS TW-41

JT Bioscoop Eindhoven

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Estonian Independent Cinemas

Embrace 4K and 3D Technology

TRADESHOWS TW-45

I N S TA L L S

Glowing in the City of Light!

TW-48 Preview -

Novo Cinemas, Qatar

An Extravagant Experience

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TW-52 Review -

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F

U T U R E

R E L E A S E S

INDIA PLEXING TM-8

Mukta A2 Cinemas

Launches in Bhopal TM-10

Arti Cinemas

First in Kolkata to Install Auro 11.1

BUSINESS TREND TM-16

Why You Need an

Expert Advice for Your Cinema Hall? TM-17

SPECIAL FEATURE

TM-3

Nitin Sood

Amongst the Top 100 Indian CFOs

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TM-11 Balaji Theatre

An Icon of the Single-Screen Culture


Industry Speaks on TheatreWorld Congratulations to TheatreWorld Magazine on sixteen years of being a strong voice in the cinema industry. You have always reported the latest technological innovations and designs around the world, and have been an inspiration to all of us. I look forward to enjoying the magazine for many years to come. David Mesbur Design Principal, Mesbur + Smith Architects, Canada

Congratulations to TheatreWorld on your 16th anniversary! May your publication continue to grow and reach out to the global cinema fraternity with engaging and exciting contents. Lin Yu Vice-President, Christie Asia Pacific

With the increasing globalization of the industry, TheatreWorld has an important role to play - keeping us all up-to-date with international developments. Ioan Allen Senior Vice-President, Dolby Laboratories

India has always been an important cinema market in the world; Theatre World has done a good job in reporting India cinemas to the world audience. Happy sixteenth anniversary! Dr. Man-Nang Chong Founder, Chairman & CEO, GDC Technology

TheatreWorld is a delight to look through, informative and visually good too. It has filled a long pending gap in the film industry's periodical presentations. Good job... Stay ahead. Arijit Dutta Priya Cinemas, Kolkata, India

TheatreWorld has changed the face of the cinema publishing in India. Here is a magazine that created a niche for itself by carrying news and information on cinemas, multiplexes, technology, both old and new, status and progress of the industry in other parts of the world etc. It has continued to remain relevant and important for every stakeholder in this amazing industry. Way to go TW! Sriram Sistla Harkness Screens

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Christie Celebrates the Opening of its Mexican Office Christie, a global visual technology company, announced the opening of its new office in Mexico, which was officially inaugurated at an event attended by customers and business partners in the country, as well as senior members of the Christie management team. The new facility, which also serves Central America, represents the logical next step for Christie's leadership in the Mexican market, providing an unrivalled level of service and support to its clients and partners. The new facility occupies over 302 square metres and hosts a vast area devoted to sales, service and training. It also has several dedicated spaces including a showroom displaying Christie's latest technologies, several rooms for seminars, training courses, commercial meetings and staging live demos, along with an extended sales open space. Among the products on display at the office are Christie MicroTiles, Christie Brio, Christie Solaria One, Christie CP2220 and different LCD panels from the FHD Series. As well, the Christie Vive Audio cinema sound system - the world's first audio system to feature a unique ribbon driver technology in a single enclosure line array design, purposely crafted and built for entertainment environments - will be available for demonstrations. The office will also host a Network Operations Center (NOC), which will

provide remote monitoring and comprehensive maintenance for Christie cinema products, along with preventive servicing and on-site emergency response. Christie's new facility is located in Bosques de las Lomas, a neighbourhood in western Mexico City that hosts offices of key Mexican companies and international firms. Heading the operation as General Manager Mexico territory and Central America is Ernesto Armus, who will be supported by a team of engineers, administrative officers and sales managers representing all Christie's business units. "The new office represents our long term commitment to growing our business in Mexico, a truly dynamic region for Christie where we have had great success over the years and we continue to see massive potential for more growth," said Armus. "We will now be able to offer to our trusted partners and end users a more efficient service and quicker response support team, and of course our new facilities will be open to them for their own use." Jack Kline, president and CEO, Christie Digital Systems USA, Inc., said the opening of the facility in Mexico is critical in meeting the accelerating demand for Christie's digital cinema, Pro AV, visualisation and simulation solutions and services throughout

Mexico and Central America. "Investing in local resources and training will ensure that Christie will be well placed to enjoy the benefits of the expansion of the region over the long term, and continue to establish itself as a major player within the Mexican and Central American markets." The guest list also had a strong representation from many of Christie's key customers in Mexico including Rolando Maggi and Jose Leonardo Marti from Cinemex; Carlos and Felipe Sanabria from iclick; Alejandro Tejado Donde, Alejandro Ramírez Magaña and Gabriel Morales Becker from Cinepolis; Jose Ignacio Higuera and Fernando Poblador from Alboa; Agustín Torres from Canacine; and Luis Vargas from Rentrak. Some of Christie's most significant work in Mexico includes the installation of Christie 3DLP rear cubes in the Federal Police Intelligence Center, at PEMEX (the Mexican state-owned petroleum company) and at the headquarters of CFE (the state-owned electric utility of Mexico). As well, high-powered Christie DLP projectors are used by leading rental stagers in the country to illuminate the Chichen Itza pyramids and different historic monuments and buildings in the states of Puebla and Merida. And most recently, a Christie D4K3560 projector was installed to illuminate the biggest screen of the Cineteca Nacional (Mexico's national film archive). In the cinema industry, Christie DLP Cinema projectors and Christie Vive Audio systems are used by leading cinema chain Cinemex (the sixth largest worldwide). Also, Cinemagic, a cinema chain focused on building cinemas in towns within Mexico with between 50 and 70 thousand inhabitants, has recently digitalized 70 screen with Christie Solaria One+ and Christie CP2220 projectors.

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GDC Technology's Flagship Product Licensed as an HDMI-Compliant Digital Cinema Server GDC Technology, a world leading digital cinema solutions provider, announced that its flagship product, the SX-3000 Standalone Integrated Media Block ("SX-3000 IMB"), is now fully compliant with HDMI (HighDefinition Multimedia Interface) standards. In addition, the company has qualified as a licensed HDMI specification adopter, which means it is authorised to design, manufacture and sell licensed products that are in compliance with HDMI specifications. GDC Technology is the only digital cinema server manufacturer to offer an HDMI-licensed digital cinema server on the market. HDMI technology, the worldwide standard for transmitting highdefinition digital content, is applied on the SX-3000 IMB. In accordance with HDMI Compliance Test Specifications requirements, the SX-3000 IMB was submitted to the HDMI Authorized Test Center for evaluation, and has qualified as a licensed product, meaning it fully complies with HDMI specifications, as required under the HDMI Specification Adopter Agreement. Other digital cinema products on the market may offer HDMI features but do not necessarily comply with these standards. "Becoming an HDMI specification adopter and the qualification of our flagship product as a licensed product under HDMI's compliance requirements demonstrate GDC Technology's capability and commitment to innovate, design and offer products with high quality and reliability," said Pranay Kumar, CTO of GDC Technology. "We have conducted rigorous compliance testing over the past few months to ensure the SX-3000 IMB fully meets the stringent compliancy and robustness requirements mandated by the HDMI standards. We always

strive for excellence and commit to providing best-in-class products which allow our clients to make purchasing decisions with confidence."

Cinemeccanica Partners with AAM to Offer Screenwriter with Cinecloud Server Cinemeccanica's customers in 90 countries will be able to purchase the Cinecloud server and Cinecloud library with Screenwriter pre-installed and ready to use. As part of the agreement, Cinemeccanica will also be retroactively upgrading around 400 existing servers to provide the benefits of Screenwriter to current customers. The Cinecloud server, available in different configurations to match differing exhibitor requirements, will come complete with the Screenwriter TMS to manage all content within a site, through an easy to use graphical interface. Content across all screens can be easily viewed and managed, and playlists built through a simple drag and drop mechanism. Screenwriter automates many time-consuming digital cinema processes, allowing playlists to be moved and repeated at the touch of a button, content to be transferred automatically and schedules to be synchronised with the cinema's POS system. Cinecloud technology offers a flexible, robust and affordable solution, based on a central server, which can be located anywhere in the cinema, able to stream and show content in real time through the IMB (Integrated Media Block) fitted in the digital projectors. Due to this capability, Cinecloud allows cinemas to swap content between screens in a few seconds through simply

changing the "data path" or ingesting new content while another projection is underway. Pier Carlo Ottoni, Sales and Marketing Director of Cinemeccanica said "We're delighted to be able to offer Screenwriter's extensive benefits to our customers. The Screenwriter TMS enables cinemas to save time and create a better customer experience by eliminating human error. The combination of CineCloud and Screenwriter is, we believe, the best for our customers." Roberto Marabotto, Sales Director EMEA of Arts Alliance Media added "We're very happy at this partnership to bring Screenwriter's capabilities to Cinemeccanica's customers. Having one of the most prestigious equipment companies select our TMS to provide with their hardware is a real endorsement for the benefits of our software"

Christie Powers the New Larry H. Miller Megaplex Theatres Christie Solaria Series 2K/4K Projectors and Christie Vive Audio cinema sound systems are powering 12 of the 13 screens at the new Larry H. MillerMegaplex Theatres in Vineyard, Utah, which held its grand opening ceremonies recently. Installed by Christie partner CLACO Equipment & Services, the new Megaplex is an integral part of an ongoing revitalisation of the former Geneva Steel Site property. It combines the visually stunning images of Christie 2K/4K projectors with the audio excellence of Dolby technology and the Christie Vive Audio system, the first to be installed in Utah. Ten of the Christie-powered auditoriums feature Dolby Surround 7.1; the other two are configured to meet Dolby Atmos sound specifications. They deliver a breathtaking, immersive experience with sound that is marked by astonishing clarity, richness, detail, and depth.

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Founded by Utah Jazz owner Larry H. and Gail Miller, Megaplex Theatres is among the top grossing theatre chains in the United States. The new location in Utah marks the 18th theatre complex to be opened by Miller. Hailed by community leaders as a vital entertainment destination, the theatre has created approximately 100 new jobs and is attracting additional retail, entertainment, and residential growth in the region. "We consider ourselves a part of the community and strive to bring quality entertainment to all our guests," said Jeff Whipple, vice president, Advertising, Marketing, and Public Relations for Megaplex Theatres. "CLACO Equipment helped us deliver the best movie-viewing experience available today, and their choice of Christie Solaria projectors, Christie Vive Audio components and Dolby technology ensures every patron in every seat enjoys the ultimate visual experience and premium, immersive sound." The new Megaplex Theatres accommodates approximately 3,000 guests. It includes amenities such as motion seats that move in synch with the movie, luxury lounge, premium seating, and a full-service food court. Christie auditoriums feature High Frame Rate (HFR) and four auditoriums feature 3D projection systems for stunning, life-like images. They also feature Christie Vive speakers configured to the highest standards to meet Dolby specifications for a life-like audio experience. Dolby Atmos/Christie Vive auditoriums feature Christie Vive LA3 and LA4 screen channels with LA4S wall surrounds, and LA3C ceiling speakers. Dolby Surround 7.1 auditoriums are wired with Christie Vive LA1 and LA3 screen channels with LS3S wall surrounds. "We worked with Megaplex Theatres from the design stage to the final installation, and Christie was always our first choice for digital cinema," said Eric Butterworth, sales manager for CLACO Equipment & Services. "We have installed hundreds of

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Christie projectors and stood behind the brand for more than 30 years because all of their products are backed by expert customer service. The introduction of Christie Vive and the amplifier's five-year warranty were a game changer for us. The warranty, especially, is the best in the industry and attests to the confidence that Christie has in the reliability of their products."

Weinstein Company and AMC Theatres Offer High School Students Opportunity to See the Imitation Game Free The Weinstein Company (TWC) and AMC Theatres announced they partnered to provide high school students nationwide with free tickets to Academy Award winning film The Imitation Game at AMC (on March 6 only). The companies offered complimentary tickets to the movie to 50,000 students, with AMC leading outreach to schools and community groups, with a special focus on high school computer classes, maths and science teams and LGBT clubs being encouraged to attend at 180 theatres presenting the movie. The free high school screenings of the film at AMC included a special taped introductory message from The Imitation Game screenwriter Graham Moore, who was awarded with the Oscar for Best Adapted Screenplay. "As Graham Moore said in his brilliant speech at the Oscars, Turing's legacy should inspire kids to be individuals, stay weird and stay different. We're so pleased to be joining with the remarkable team at AMC in giving students all over the country an opportunity to see The Imitation Game. Alan Turing's story is an incredibly important part of history and we're thrilled to help in educating young people about his extraordinary contributions to

humanity." "Graham Moore inspired millions of Americans with his heartwarming Oscar acceptance speech," said Elizabeth Frank, AMC Theatres executive vice president and chief content and programming officer, "It is our honour to partner with The Weinstein Company to provide high school students across the country with free tickets to experience this remarkable movie in theatres." TWC released The Imitation Game in select theatres on November 28th and nationwide on December 25th. It has since become the year's top grossing independent film at the domestic box office, with $84.4M in ticket sales to date. Produced by Black Bear Pictures and Bristol Automotive, the film won the Academy Award for Best Adapted Screenplay (Graham Moore) and was nominated for seven others, including Best Picture, Best Actor (Benedict Cumberbatch), Best Supporting Actress (Keira Knightley) and Best Director (Morten Tyldum.) It was also nominated for five Golden Globe Awards, included in the American Film Institute's top 11 films of the year and nominated for three Screen Actors Guild Awards. Directed by Tyldum, produced by Nora Grossman, Ido Ostrowsky and Teddy Schwarzman, with a screenplay by Moore, the film stars Cumberbatch, Knightley, Matthew Goode, Rory Kinnear, Allen Leech, Matthew Beard, Charles Dance and Mark Strong. An intense and haunting portrayal of a brilliant, complicated man, The Imitation Game follows a genius who under nail-biting pressure helped to shorten the war and, in turn, save millions of lives. During the winter of 1952, British authorities entered the home of mathematician, cryptanalyst and war hero Alan Turing (Cumberbatch) to investigate a reported burglary. They instead ended up arresting Turing himself on charges of 'gross indecency', an accusation that would lead to his devastating conviction for the criminal offense of homosexuality little did officials know, they were actually incriminating the pioneer of


modern-day computing. Famously leading a motley group of scholars, linguists, chess champions and intelligence officers, he was credited with cracking the so-called unbreakable codes of Germany's World War II Enigma machine.

Harkness Screens to Run Second Harkness Educational Academy at CinemaCon Harkness Screens, the world's leading screen technology company and thought-leaders in on-screen brightness, will run its second Harkness Academy at Cinemacon 2015 in Las Vegas. After its first Academy held in 2014, which had an attendance of over 100 people, this year's free one-day event outside of the main body of Cinemacon programming will again be hosted by Harkness' Technical Specialists. The Academy will highlight some of the major issues relating to presentation faced by exhibitors and showcase forward thinking solutions to these.

Christie Vive Audio & Dolby Atmos Power Next Generation of Cinema Sound for TOHO Cinemas in Japan Christie, a world leader in entertainment solutions, announced that TOHO Cinemas, a subsidiary of TOHO, Asia's leading film, theatre production and distribution company, is poised to launch a new revolution in cinema sound throughout Japan with the installation of Christie Vive Audio surround sound solutions, powered by Dolby Atmos sound technology. Installed by Xebex, a subsidiary of Ushio, Inc., the initial rollout of Christie Vive Audio will include installations at TOHO Cinemas Roppongi, the flagship and crown jewel of the organisation, as well as Fujimi, Oita, and Shinjuku. TOHO Cinemas is one of the largest cinema chains in Japan, and among the most recognised brands throughout Asia. It operates more than 595 screens in 64 cinemas including five jointly operated cinemas with 56 screens. The addition of Christie Vive Audio and Dolby Atmos will create the world's most advanced cinema sound experience for TOHO's enthusiastic audiences.

"We've had enormous success last year with our inaugural event and bringing the Academy back to Cinemacon was a simple decision to make. We see this forum along with our web seminars and regular presentations at trade shows and conventions as a vital part of our commitment to helping the cinema industry improve presentation quality. With the Academy we have the ability to reach out to new contacts from across the cinema world and share our expertise and ideas," says Richard Mitchell, Head of Global Marketing at Harkness Screens.

"Japanese audiences are one of the most technically savvy in the industry. They expect the best in sight and sound at TOHO Cinemas. We believe that we can meet this high expectation by using Christie Vive speakers and Dolby Atmos in our TOHO Cinemas Extra Large Screen (TCX) premium screen theatres," said Shunichi Kobayashi Development & Construction Director, TOHO Cinemas Ltd. "Christie Vive Audio, and Dolby Atmos, will continue to ensure that our audiences enjoy the ultimate movie-viewing experience throughout Japan."

The Harkness Academy will consist of 4 stand-alone seminars run on April 21 in the Turin Room, (3rd Floor Promenade Level) at Caesars Palace with each seminar lasting for approximately 45 minutes.

Christie Vive Audio brings immersive cinema sound to any auditorium. It is among the leading choices for today's large-capacity, premium cinema venues. Each TOHO Cinemas auditorium, specially configured to

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meet Dolby Atmos specifications, will be upgraded with varying combinations of Christie Vive Audio LA3 or LA4 Series line array screen channel speakers, and LA4S and LA4C Series parabolic line array wall and ceiling surrounds. "Japan is always on the cutting-edge of new technology in cinema," notes Akikazu Dempoya president, Xebex Inc., Japan. "The combination of Christie Vive and Dolby Atmos heralds a new era in superior cinema sound that will give TOHO Cinemas a true competitive edge in the market." "Dolby is honoured that TOHO Cinemas has chosen Dolby Atmos sound technology as its preferred immersive sound system. With Dolby Atmos, the audience is no longer just watching a movie, they are experiencing it," said Doug Darrow, Senior Vice President, Cinema, Dolby Laboratories. "We are confident that moviegoers will go back again and again for the extraordinary experience that only Dolby Atmos can deliver." "Christie Vive Audio represents the next evolution in cinema sound. After just over a year on the market, it is already a major force in newbuild premium auditoriums around the world, attesting to its superiority over legacy sound systems," said Patrick Artiaga, director, Business Development, Audio, Christie Digital. "With its adoption by TOHO Cinemas in Japan, Christie Vive Audio continues to make its mark as a dominant player in cinema sound technology worldwide." The complete Christie Vive Audio solution includes the cinema industry's first line array designs for ceiling surrounds, wall surrounds and screen channel speakers, integrated with unique subwoofers, and powered by Class D amplifiers.


D3D & Christie to Introduce Laser Dome System Christie and D3D Cinema have partnered in a joint effort to provide a premium experience using Christie's RGB laser projection platform for tilted giant screen dome cinemas. R&D and preliminary testing is underway in conjunction with a host of thirdparty partners, from veteran dome cinematographers and postproduction labs to optics specialists and test bed theatres. D3D Cinema will be shooting original dome test footage in multiple digital and 70 mm formats in the coming months. Classic 70 mm dome content will be scanned at 11K resolution, mastered and frame-interpolated for laser optimised high dynamic range and high frame rate playback. The world's first and only projection display capable of reaching Rec2020, Christie laser technology provides the widest colour gamut available and the company is

designing its laser-illuminated cinema projector solutions to accommodate the configurations necessary for proper dome exhibition. Testing will continue through the summer with an anticipated demonstration to select buyers in the fall of 2015. The system will be made available through D3D to institutional dome giant screen clients with D3D targeting the first rollouts for integration in early 2016. "Dome theatres have waited a long time for digital projection technology to evolve to a capable solution that can rival or exceed the quality of 70 mm," said Don Kempf president and founder of D3D. "Just as lasers usher in a new era for dome cinema exhibition, new digital capture technology ushers in a new era for the production of dome-specific content to support the incredible dynamic range of the lasers.

We're proud to have produced multiple films supported by the Giant Dome Theater Consortium and the U.S. Dome Theater Alliance, and we look forward to continued collaboration as we work with their members in their transitions to a more economical, brighter, digital future." "The goal with this partnership is no compromise, providing open and flexible high brightness laser projection solutions to the dome cinema market, which allows end users the creative freedom to use the technology to meet the changing needs of their audiences," said Bryan Boehme, national sales manager, Christie. "Our approach is a dome configuration using a very special, single laser projector situated in the focal sweet spot, incorporating true spherical optics. This is the cleanest image available, without the need to pixel shift, warp,


stretch, panel, or overlay the images. The preliminary tests have been eye-opening and we're convinced theatres will be very impressed by Christie's ability to achieve higher perceived spatial resolutions through jitter-free image clarity and unparalleled contrast while pushing temporal resolutions to 60 fps and greater. The high frame rates and high dynamic range lasers bring to the table will enhance the immersiveness and realism of the dome viewing experience over anything in any format thus far." The D3D and Christie dome laser solution will include options such as DCI-compliant window playback modes and Dolby Atmos surround sound on the ground breaking Christie Vive Audioplatform. As the only current supplier to have obtained FDA and international regulatory approvals in the giant screen market space to date, Christie will oversee approvals and variances as necessary. D3D will assist with the application process and seek regional clearances on behalf of clients. "Giant screen domes are special and provide the inimitable viewer experience combined with the underlying technology necessary to deliver that unique experience," said Andy Wood, senior vice president at D3D. "Lasers alone provide the illumination and clarity to allow these theatres to convert to a digital platform at long last. It was imperative that D3D and Christie work through the integration complexities of lasers on flat screens before tackling the dome format. Having successfully introduced the world's first institutional giant screen 6P laser system at Moody Gardens last year, and with a host of installations underway in 2015, it was time to shift our attention to the critically important dome market. We're tremendously excited about what's on the horizon."

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Ymagis Appoints Cedric Lejeune as the Group's VP of Technology for Postproduction Activities Ymagis, the European specialist in digital technologies for the cinema industry, announced that Cedric Lejeune has been appointed VP of Technology for the Group's postproduction-related activities. A graduate of the University of Valenciennes and Hainaut-Cambresis (France) in Sound and Picture Engineering, Cedric Lejeune is an audio-visual systems specialist and researcher in information and communication sciences. Among his achievements, he has garnered a strong reputation in workflow organisation and colour management. His knowledge of the full digital cinema chain makes him a great asset in all areas, ranging from film shoots to post-production and content distribution. At the head of his own company, Workflowers, for nine years, Lejeune oversaw the creation of digital cinema postproduction pipelines, as well as training programs for clients in over 25 countries. His experience will bolster the Ymagis Group's network of six laboratories located in Europe (Berlin, Barcelona, London, Liege and Paris) and the US (New York City). "We are delighted to welcome Cedric Lejeune in our team, particularly at this time when our group is greatly enhancing its services offer to producers and distributors," said Christophe Lacroix, co-founder of Ymagis, Deputy CEO and Senior VP Content Services. "Thanks to our

presence in six different countries, our company is in constant evolution, enabling us to offer our clients top-notch services. Ymagis is now more than ever in a position to offer a one-stop comprehensive solution, bringing our expertise in digital cinemas to creative and mastering solutions to filmmakers and distributors alike." "I am thrilled to join a company known for being at forefront of innovation, while evolving in a fastchanging and complex market," said Cedric Lejeune. "It's such a wonderful professional opportunity to work with a talented international team with a single common goal: to diversify our services offer to producers and distributors, while always improving the technical quality of our content."

Christie Wins Top Technology Awards at ISE Christie earned two highly prestigious awards for technical innovation at this year's ISE Show in Amsterdam recently. Christie's 6P laser technology was voted the 'AV Innovation of the Year' by leading British based trade journal, 'AV News.' The award recognises the contribution made by individuals and teams to the development of the AV business, and marks the arrival of


new technologies that will have a significant effect on the AV industry. The mission set out by Christie 6P laser projection was to redefine the 3D cinema experience by delivering the optimum 14 fl to 3D along with no motion artifacts. It provides unprecedented brightness and smooth, natural viewing with stunning uniformity and detail. "Christie's decision to use the dual headed projection system for providing the most comfortable 3D viewing experience and delivering the brightest picture is reinforced by this award," said Don Shaw, senior director, Product Management for Christie. "It is also a testament to our engineering capability and our knowledge of what the market truly needs. As a result, Christie's 6P laser projection is setting the standard for cinemas and other 3D projection applications by providing the ultimate viewing experience." Christie's GS Series of laser phosphor projectors picked up a major global

award for 'Most InAVative Projector' at the highly prestigious annual 'InAVation Awards.'Sponsored by InAVate Magazine, and held at the Gashouder, Amsterdam during the annual ISE Show, this category recognises a remarkable technology that avoids the downtime, cost of lamp and filter replacements, and the maintenance associated with lampbased projectors. It further acknowledges that laser phosphor illumination provides an impressive 20,000 hours of low-cost operation, with wireless connectivity, a small footprint, low-weight, quiet operation and a full suite of lenses. "We deliver what our customers want and this award demonstrates our ongoing commitment to developing high quality products," said Curtis Lingard, product manager, Christie. "With our GS Series, I think we are seeing the start of a new technology in the market - and I hope we will see a lot more - with Christie leading the way."

IMAX and Vue Forge Partnership to Bring First IMAX Theatre to Denmark IMAX Corporation and Vue International, a leading global exhibitor, announced an agreement for an IMAX theatre to be added to the CinemaxX multiplex in Copenhagen, Denmark. The deal marks IMAX's first commercial theatre agreement in Denmark. "We are committed to delivering premium entertainment experiences and IMAX is an extension of this strategy, serving as the anchor attraction for our multiplex in Copenhagen," said Tim Richards, CEO, Vue International. "We are absolutely delighted to be the first to bring audiences in Denmark, IMAX, the world's most immersive way to experience the biggest blockbuster films, which we are confident, will


further strengthen our business and thrill our guests for many more years to come." "With its strong movie-going culture and growing exhibition industry, Denmark is a very promising market for us," said Andrew Cripps, President, IMAX EMEA. "I can't think of a better way to enter the commercial market in Denmark than by partnering with a first class exhibitor to bring IMAX to the nation's most successful cinema complex, hosting the biggest screen in Scandinavia" IMAX theatres offer 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 customised 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 re-mastered to enhance both the image and sound with proprietary IMAX DMR (Digital Re-mastering) technology.

Dolby & Jaunt Join Forces to Deliver the NextGeneration Cinematic VR Experience Dolby Laboratories, announced that it is working with Jaunt to enable the next generation of immersive storytelling, known as cinematic virtual reality. Jaunt will release three virtual reality applications-Live and Let Die by Sir Paul McCartney, as well as clips from monster film Kaiju Fury! and horror thriller Black Mass-that will be available in Dolby Atmos via the Google Play Store. The Dolby Atmos experience will be available via the Jaunt app on select mobile devices. Demos of these clips will be

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available at Dolby's hospitality suite at Mobile World Congress 2015. Immersive audio is critical to storytelling in virtual reality (VR). It builds a rich layer of information that enhances the sensation of presence and directs people where to look at critical moments in the virtual environment. Dolby Atmos allows content creators to guide viewers through an optimal VR experience with lifelike moving audio that informs and complements the 360-degree visual experience. Viewers of Jaunt's 360, 3D content can now experience an unparalleled level of realism that offers the greatest sense of "being there." Jaunt, a leader in creating and delivering the world's most immersive VR content, is the first to deliver the Dolby Atmos experience to VR consumers. Content creators will now be able to produce Dolby Atmos content quickly and easily by leveraging the same Dolby mixing tools and infrastructure used to mix nine of the top 10 grossing films in 2014. "Dolby Atmos is essential for delivering a realistic and immersive virtual reality experience that puts audiences in the heart of the story," said John Couling, Senior Vice President, E-Media Business Group, Dolby Laboratories. "Dolby's passion for storytelling, coupled with great content and Jaunt's VR capabilities, is

a natural fit that will bring consumers an incredible entertainment experience." "Dolby has pioneered superb audio experiences in the cinema, home, and mobile devices," said Jens Christensen, CEO and Founder, Jaunt. "It was a natural fit to incorporate Dolby Atmos into Jaunt's technology to help consumers experience the best VR has to offer." Live and Let Die, from Sir Paul McCartney's 2014 concert at San Francisco's historic Candlestick Park, was mixed in Dolby Atmos by Grammy award-winning producer Giles Martin at the legendary Abbey Road studios in London. "By using Dolby Atmos to place and move sounds where they need to be, Jaunt and Dolby's technologies recreate the concert experience and make viewers feel as if they were on stage during the performance," said Giles Martin, rerecording mixer for the Dolby Atmos mix. The McCartney concert performance and both films were recorded using Jaunt's 360-degree stereoscopic 3D cameras and soundfield microphones. The audio was then mixed and encoded using Dolby Atmos tools. Jaunt's latest applications can now decode and render the full end-to-end Dolby Atmos experience.


Ballantyne Strong Issues Statement in Response to Proxy Contest OMAHA, Nebraska shareholders in the weeks ahead to enhance their understanding of our vision for the Company, our progress in becoming the market leader in integrating digital media technology, and the strategies we are implementing to create value for shareholders." Ballantyne Strong, issued the following statement in response to the proxy contest initiated by Fundamental Global Investors to replace all of the current directors with its nominees. "We were surprised and disappointed by the news of the proxy contest initiated by Fundamental Global Investors. Since Fundamental Global Investors became one of Ballantyne Strong's largest shareholders, we have engaged in several constructive discussions with its CEO regarding our business and growth strategies. Earlier this year, we invited him to join the board and he accepted our invitation. We were looking forward to working with him collaboratively to execute the vision we have for the company, and had expressed our openness to adding other new directors he proposed that would work collaboratively to enhance shareholder value. "We believe the initiation of a proxy contest is an unnecessary and costly measure that has the potential to disrupt Ballantyne Strong's operations and momentum at a critical time in the development of the Company's digital communications business. We are committed to continuing our practice of exploring all options for enhancing shareholder value, including returning capital to shareholders, considering strategic business combinations, reinvesting in the business to accelerate organic growth, and enhancing efficiencies through cost reduction initiatives, among other considerations. "We look forward to communicating with all Ballantyne Strong

Volfoni Raises Production Capacity Ahead of Massive 3D Rental Contracts Ending After just 15 months since its launch at CineAsia 2013, the SmartCrystal Diamond has been the number one selling Hi-Lef 3D system. With over 300 units shipped, this represents one installation every 36 hours somewhere onthe planet. Backed by this success, Volfoni announces that ithas opened a second factory for the production of the SmartCrystal Diamond in China. Volfoni repeats it successful roll out of production processes that have been developed by its R&D and Production team in Nice, France. "The unique compact Triple Beam Technology from Volfoni is extremelywell adapted for mass production without any compromise on quality", says J茅r么me Hamacher, Chief Operating Officer of Volfoni. The new Volfoni-Factory will be located in Qingdao, the upcoming Hollywood of China. Together with its existing production facility in Franceand the integrated production partnership in Spain, the Volfoni production sites amount to 1 500 m 2 of work floor and 40 specialized workers. The facilities are state-of-the-art with clean rooms (dust free assembly zones). Inpeaktime, they allow for an output of 500 3D systems per month. Volfoni

further sees the advantage of its global production network in the ability tobalance the work-load between sites, and to achieve economies of scale thatcan ultimately be shared with the customers. On all aspects, Volfoni is definitively ready for the opportunity of the massive 3D rental contracts ending.

QSC Amplifier Navigator Software for DPA Amplifiers Amplifier Navigator 2.0 enables computer (Mac and PC) control and monitoring of DPA* amplifiers and provides a mechanism for on-line and off-line creation, editing and storing of Presets and Loudspeaker files. With Amplifier Navigator software, you can remotely control and monitor all functions of connected DPA amplifiers, including channel configuration, crossover and EQ filter setup, limiter adjustment, and temperature, voltage, and current history. It also provides a mechanism to create, store, and recall Presets and Loudspeaker Profiles to and from the PC or Mac. Preset and Loudspeaker Profile Libraries can also be downloaded/uploaded to connected amplifiers, enabling "cloning" amplifiers for multifunction racks with duplicate amps. Amplifier Navigator V2.0 also provides firmware management if you connect one or more amplifiers to a computer running Amp Navigator it will update your firmware to the latest release. Future versions will provide additional functionality.

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DepthQ 3DPassive Polarization Products for Digital Cinema

National Theatre Live, Sony and Vue Entertainment International Raise Curtain on New Partnership

DepthQ 3DPassive Polarization products consist of patented Best in ClassDepthQ Polarization Modulator and our new patent-pending highbrightness DepthQ CineBright 3D light recycler.

Sony Digital Cinema has confirmed a ground-breaking initiative with the National Theatre and Vue Entertainment International to screen four National Theatre Live stage productions in detail-packed 4K Ultra High Definition.

With a powered, symmetrical 50 microsecond switching time between the eyes, both DepthQ products require the world's smallest dark times - thus easily ensuring bright, low-crosstalk operation. When combined with a silver screen, DepthQ allows your digital cinema projector to display stunning stereoscopic 3D films, viewable using inexpensive industry-standard passive glasses. Advanced heat protection allows unlimited lamp power and a spectacular experience on large 3D screens.

A landmark in 'Event Cinema', this unique three-way partnership represents the first agreement of its kind between a leading cultural brand, a cinema chain and an electronics manufacturer. Over the next year, audiences at Vue Cinemas across the country will be able to enjoy a world-class theatrical experience without travelling far from home. The four shows will be captured with Sony cameras at 4K resolution, with four times the detail of ordinary Full HD television broadcasts.

CineBright's unique and novel design produces an optical efficiency of up to 31%, which combines with our super-fast liquid crystals to comfortably match or exceed the overall light efficiency of the polarized 3D market share leader. The system will accept up to a 1:1 throw ratio in Scope.

During the 12-month tie-up, Vue customers at its 83 sites across the country will exclusively be able to enjoy the productions projected in 4K - the highest quality currently possible with commercial digital cinema projection.

DepthQ Polarization Modulator is currently installed in over 1700 theatres around the world and the US. DepthQ CineBright is now operational in multiple locations outside the United States and expected to enter the US market in the near future.

First fruit of the new partnership is the NT's acclaimed production of David Hare's Behind the Beautiful Forevers, based on the book by Katherine Boo, directed by Rufus Norris and starring Meera Syal. Captured in 4K using Sony's F55 cameras, the recorded performance will be distributed to Vue Cinemas as a 4K DCP (Digital Cinema Package). Stored on a hard drive or transmitted securely by satellite, this highresolution 'digital print' replaces bulky reels of celluloid film that were formerly used for movie distribution to cinemas. It's anticipated that National Theatre Live, Sony and Vue Entertainment International will push the boundaries of event cinema even further with other technical

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innovations during the course of the 12-month agreement, including live 4K capture and transmission of future productions. "National Theatre Live continually aims to push the boundaries and ensure we're at the cutting edge" remarks Emma Keith, Producer of National Theatre Live. On February 27th 2014, National Theatre Live (NT Live) broadcast War Horse live from the New London Theatre to cinemas across the world. The performance was captured using Sony F55 cameras and projected using a Sony 4K projector, ensuring cinema-goers enjoyed the best possible 4K viewing experience. The recording was subsequently made available as a 4K DCP, allowing 4K enabled cinemas to also show encore screenings. 36 Vue Cinemas in the UK screened the theatrical production on Sony 4K projectors throughout March 2014. In total, the broadcast attracted an audience of almost 400,000 people watching War Horse from around the world. In August 2014, Sony cameras were used to capture the summer's footballing action in Brazil, with images from FIFA World Cup Final beamed live in 4K to fans at Vue's prestigious Westfield multiplex in London. Vue Entertainment International has been a trailblazer in the switch to digital projection, with all its 755 screens in the UK now converted to 4K digital projection with the help of Sony. With a unique capability extending from live production to digital projection, Sony is a key player in the growing Event Cinema market. From sports, opera and music to alternative comedy and high-profile public events, Event Cinema lets exhibitors expand their offering beyond traditional feature films and represents an increasingly important slice of box office receipts.


Warner Bros. Pictures and Ratpac Entertainment's The Water Diviner Will Open in Select Domestic Imax Locations IMAX Corporation, Warner Bros. Pictures and RatPac Entertainment announced that The Water Diviner, the feature film directorial debut from Academy Award winner Russell Crowe (Gladiator), will be digitally re-mastered into the immersive IMAX format and released into select domestic IMAX theatres on April 24. The Water Diviner is an epic and inspiring tale of one man's lifechanging journey of discovery. Crowe also stars in the film as Australian farmer Joshua Connor, who goes in search of his three missing sons, last known to have fought against the Turks in the bloody Battle of Gallipoli. Arriving in Istanbul, Joshua Connor is thrust into a vastly different world, where he encounters others who have suffered their own losses in the conflict: Ayshe (Olga Kurylenko), a strikingly beautiful but guarded hotelier raising a child alone; her young, spirited son, Orhan (Dylan Georgiades), who finds a friend in Connor; and Major Hasan (Yilmaz Erdogan), a Turkish officer who fought against Connor's boys and who may be this father's only hope. With seemingly insurmountable obstacles in his path, Connor must travel across the battle-scarred Turkish landscape to find the truth... and his own peace. The film's international ensemble cast also includes Cem Yilmaz, Jai Courtney, Ryan Corr, James Fraser, Ben O'Toole, Steve Bastoni and Jacqueline McKenzie. The Water Diviner recently won three Australian Academy of Cinema and Television Arts Awards, including Best Picture. The film also won in the categories of Best Supporting Actor (Erdogan) and Best Costume Design. It had received five additional nominations, for Best Lead Actor (Crowe), Best Supporting Actress (McKenzie), Best Original Screenplay, Best Production Design and Best Editing. The Film Critics Circle of Australia also honoured the film with

awards for Best Actor (Crowe), Best Supporting Actor (Erdogan), Best Supporting Actress (McKenzie) and Best Score. The IMAX release of The Water Diviner will be digitally re-mastered into the image and sound quality of The IMAX Experiencewith proprietary IMAX DMR (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX's customised theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie. Crowe directed The Water Diviner from a screenplay by Andrew Knight and Andrew Anastasios, who were also executive producers on the film. The film was produced by Andrew Mason, Keith Rodger and Troy Lum, with James Packer, Brett Ratner, Kerry Stokes, Tim Worner, Angus Ross and John Collee also serving as executive producers.

Christie Rolls Out Experiential Advertising Network to First 200 Lobbies in Theatre Chains across America

Theatres; and Spotlight Theatres in Georgia. The rollout demonstrates Christie's ability to deliver sophisticated advertising campaigns that communicate with and engage the modern, tech-savvy consumer in a wide range of markets. The announcement coincided with the debut of CEN at DSE 2015 in Las Vegas. Christie is showcasing an array of innovative media solutions and digital destinations including interactive one-sheet kiosks, awardwinning Christie Velvet LED tiles and ultra-high resolution LCD touch panels. They are part of the many scalable systems featuring user-driven video walls, projection mapping, and multi-side immersive environments. "Just as CEN is doing with Emagine Entertainment, which recently opened a new, upscale movie theatre concept, we can help customers create a new network, expand upon it, or monetize an existing one," noted Kevin Romano, senior director, Global Media, at Christie. "We offer a la carte products and services, as well as integrated solutions through our Christie THREE SIXTY digital media teams. Services include comprehensive strategy planning, content creation, interactive programming, system design, deployment and nationwide monitoring and maintenance. Christie can also connect the experiential digital network with pre-existing digital menu boards, directional signage and box-office signage to create a unique and engaging experience."

Christie continues its strong presence in the digital signage market with the rollout of Christie Experiential Networks (CEN), in 200 theatre lobbies across the U.S., beginning with these theatre chains: Missouri's Wehrenberg Theatres; Michiganbased Emagine Entertainment; New Jersey's Frank Theatres; Florida's EPIC

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Cinepolis Becomes First Exhibitor in Latin America to Install High Brightness Digital Cinema Laser Projector Building on its long-term relationship with Barco, Cinepolis chose Barco's DP4K-60L laser projector due to its superior image quality and technical superiority. Barco has been the exclusive provider of DLP Cinema xenon projectors for the exhibitors' converted and new theatres since 2011, becoming a trusted partner for Cinepolis' expansion over three continents. The laser projector is installed in their brand new signature complex, Cinepolis Parque Toreo in Mexico City, featuring 13 screens in total, pioneering a number of new concepts and all outfitted with Barco laser and xenon projectors. The high brightness laser system uniquely combines single projector simplicity with operational flexibility - in this case, with polarization-based 3D - to provide consistently brighter, sharper and more uniform images, delivering stunning, saturated colours for the most lifelike and immersive movie presentation available today. "We are delighted to pioneer high brightness laser-illuminated projection in the Latin America cinema market, which is in keeping with our mission of offering an upscale, family-oriented environment to indulge our guests in an intimate, pampering experience," comments Gabriel Morales, Director for Technology at Cinepolis. "Barco

has been an excellent digital cinema partner, not only providing the industry's best-in-class projectors but also leading in the local Latin market, with its partnership approach and dedicated overall support experience to optimize our investment in their solutions. Barco Laser was a logical choice in our long standing collaboration including future and leading edge technologies in now well over 3,000-theaters we work together". As Cinepolis grows its premium cinema footprint, it maintains a keen eye on the latest digital technologies. "Barco's DP4K-60L became the logical choice for high-end projection, based on its ability to outperform other models by showing 4K content at 60 fps and 3D movies in full 4K resolution," added Ivan Cannau, Vice President Latin America for Barco. Barco continues to demonstrate strong support for the Latin America cinema market to ensure exhibitors' total satisfaction. Barco provides 24/7/ 365 onsite technical support through local service teams, with parts conveniently available from eight locations in Latin America. In addition, Barco's installation and advanced service certification training is available in Sao Paulo, Brazil; Mexico City, Mexico; and Sacramento, California.

IMAX and CJ CGV, Expand Partnership to Bring the IMAX Experience to Vietnam IMAX Corporation and CJ CGV Holdings, Ltd., announced an expansion of the companies' partnership with the addition of two IMAX theatres in Vietnam, to be operated by CGV Vietnam, a whollyowned subsidiary of CJ CGV. The deal marks IMAX's entry into the country, with the first theatre to be added to a new construction project in Ho Chi Minh City, the largest metropolitan area in Vietnam, and the second location still to be determined. With this deal, CJ CGV - IMAX's second-largest partner internationally - will have 97 theatres open or contracted to open, including two theatres in Vietnam, 20 theatres in South Korea and 75 theatres in China. "We were the first to introduce The IMAX Experience to audiences in South Korea and today we are proud to be the first to bring the world's most immersive experience to moviegoers in Vietnam," said Dong-Won Kwak, CEO, CGV Vietnam. "IMAX delivers a unique cinematic experience that sets us apart from our competitors. With global expansion as a top priority, we look forward to continuing this successful relationship and integrating IMAX as a key element to our growth efforts." "CJ CGV is a world-class exhibitor and powerful force in the Asia Pacific entertainment market that has helped strengthen the IMAX brand throughout the region," said Don Savant, IMAX Managing Director, Asia Pacific. "I can't think of a better way to commemorate our decade-long relationship than by introducing IMAX to the moviegoers of Vietnam with our valued partner and the country's largest exhibitor."

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• SPECIAL STORY •

Cinemark Playa Vista and XD

Technologically Advanced The 9-screen multiplex by Cinemark is one of the most high-tech theatres in the US. It features Cinemark's next-gen cinema design, XD Auditorium, new reserve level with VIP premium seating, full cocktail bar & lounge and expanded dining options. Cinemark, one of the world's leading motion picture exhibitors, opened its new 9 screen, all-digital movie theatre on 12 March 2015 in the heart of Playa Vista's burgeoning technology and entertainment district in West Los Angeles. The Cinemark Playa Vista and XD theatre, located at12746 W. Jefferson Blvd., launched Runway at Playa Vista, under development by Lincoln Property Company, Phoenix Property Company, and Paragon Commercial Group. The multiplex showcases large, wallto-wall and floor-to-ceiling screens, enhanced sound systems with multiple audio format capabilities and state-of-the-art digital projection in every auditorium. The new multiplex brings the eighth Cinemark XD: Extreme Digital Cinema auditorium to Southern California and introduces Cinemark's signature

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Reserve Level that offers guests a unique VIP experience with full bar and lounge with outdoor seating, chef-designed dining choices and Luxury Lounger recliner seating.

The theatre also offers a permanent green room, a private space for stars, directors, keynote speakers and others before or after premieres, Q&As and special events.


• SPECIAL STORY • "Cinemark Playa Vista and XD is one of the most luxurious and technologically advanced complexes in Los Angeles and was designed to accommodate film premieres and special events," states Tim Warner, Cinemark's Chief Executive Officer. "This theatre sits in the heart of Silicon Beach with neighbors like Google, Facebook, Microsoft, Yahoo and YouTube. With cutting-edge projection technology, expanded menu items and luxury seating, it will certainly set the bar for movie going in LA." "I am pleased to welcome one of the most well-recognized theatre operators to Playa Vista and I thank Cinemark for helping to generate more than 100 new jobs in one of our city's hottest entertainment and technology hubs," said Los Angeles Mayor Eric Garcetti. "This groundbreaking movie theater experience will be a significant asset for the Playa Vista community, and I look forward to witnessing its success in the years to come." "We are thrilled to launch Cinemark Playa Vista, which promises to be the centerpiece of the highly anticipated Runway project," said David Binswanger, Executive Vice President of Lincoln Property Company. "Runway was envisioned to be a true community center with tenants at the forefront of everything new in the worlds of food, fashion, art, design and technology. The hightech, first class movie-going experience at Cinemark is a perfect way for us to introduce Runway to the community, and we look forward to rolling out the rest of the project in the months to come." Cinemark Playa Vista opens with screenings of Disney's live action

Cinderella, Run All Night and Second Best Exotic Marigold Hotel.

Reserve Level:

designed for presenting movie premieres and broadcasting special and private events •

In-theatre digital signage (one sheets, banners, menu boards, box office signage, etc.): The dynamic digital displays will be supported by Cinemark's new content management program specifically designed for this theatre and enable the advertising to be paperless. Reserved seating

The new Reserve Level includes the following amenities: •

Plush, comfortable Luxury Lounger recliner seating with tables

Private balcony entrance to auditoriums

VIP lounge with outdoor terrace

High-end, expanded dining options featuring Chicken Tinga Nachos, Baja Style Fish Tacos, Pulled Pork Sliders and Arugula Prosciutto Flatbread and much more

Extreme Digital Cinema Auditoriums:

NextGen Concept: The new Cinemark Playa Vista and XD NextGen amenities include: •

A state-of-the-art viewing environment with large wall-towall, ceiling-to-floor screens in all auditoriums

4K digital projection powered by Barco projectors; RealD 3D capability in five auditoriums

Enhanced sound systems with multiple sound format capabilities that will enable guests to hear the movies as the filmmakers intended

A cafeteria-style concession stands offering freshly-popped popcorn, Coca-Cola fountain beverages and favorite candy brands

A Cinemark XD: Extreme Digital Cinema auditorium offering a massive 70 ft. screen, two immersive sound formats, a dual projector system, as well as, the ability to present up to 14 foot lamberts for 3D presentations

A satellite delivery system

Cinemark XD is the number one, private label Premium Large Format (PLF) in the world. XD offers a complete entertainment environment featuring a large wall-to-wall and ceiling-to-floor screen, plush seating and an immersive 60 plus speaker digital surround sound system. The digital images are delivered by a Doremi server and a Barco DLP digital projector, which offers the brightest light standards in the industry. The XD auditorium is designed to exhibit the newest movies every week, including 2D and RealD 3D films. Moviegoers can download the Cinemark app to view show times, purchase tickets on-the-go, and use CineMode to earn rewards for being courteous during movies. Guests are invited to stay connected through Cinemark's social media channels: Facebook, Twitter, Google+, Instagram and YouTube. Finally customers can sign up online to receive free, weekly show time emailers that contain online coupons for discounts at the concession stand and other weekly special offers. Several activities and special offers are planned for the opening weekend including the opportunity to see the glass slipper used in the new film Cinderella. In addition various movie themed items from Cinderella and The Divergent Series: Insurgent, Cinemark refillable popcorn tubs and soft drink cups will all be given away during radio remotes scheduled throughout opening weekend. March-April 2015

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• SPECIAL STORY •

Valmir Fernandes Making a Mark with Cinemark TheatreWorld congratulates Cinemark on receiving the Global Achievement Award in Exhibition at this year's CinemaCon. Excerpts from an interview with Valmir Fernandes, President, Cinemark International, LLC. TW-26

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• SPECIAL STORY • What made a chemical engineer foray into cinema exhibition? I guess it was in search of the right chemistry in movies! Seriously, after years in management consulting with Arthur D Little Co, I was ready to work with a company where I could make an impact and look back and see a legacy. Cinemark provided me that chance.

Tell us about your 18-year journey in cinema exhibition. I would say "The journey" should be divided in phases. It started with the creation of an entity; Cinemark had not yet established offices in Brazil when I was hired. It was a true start up for me. The second phase was to transform a start up to a profitable operating company while developing a strong team around me. This phase culminated when operating sites turned out to be more important than the new openings. This took a few years to be completed. During this phase, we took the leadership in the Brazilian market. Next phase was to establish myself as a genuine industry leader, being the first one in the face of Government entities fighting for our rights and trying to limit unwelcome interference on the business. Finally,

came the promotion to President of Cinemark International in late 2006, and the challenge to grow our presence in Latin America, developing a relevant position in the countries we participate.

Tell us more about Cinemark Group. Cinemark is the number one company in terms of the tickets sold in the world. That says a lot! We are also a very innovative company, growing fast and providing value to Customers, as well as to investors and communities.

Currently, how many sites and screens does Cinemark operate? In total we have 5,676 screens at 495 theatres which make us #2 in the location count.

Any plans of expanding the screens? We are expanding on an average of 100 screens in Latin America. In the US as well, we add approximately 100 screens per year.

How was the experience of acquiring Rave Cinemas in 2013?

We faced the normal challenges of an acquisition, but our experience of acquiring Century a few years ago and Hoyts in Argentina helped us to make it a smooth process.

What are the recent innovations at Cinemark? Cinemark is a leader in theatre technology, operating its own NOC in Plano, Texas, and providing support to our almost 6000 screens. We have also developed XD, our Premium Large Format, which is the world's largest PLF footprint by an exhibitor. We have also taken VIP screens, D-BOX, Auro Sound and several other innovations to Latin America's most remote markets.

Having been promoted as President, what strengths and strategies have you brought in place? In fact, I was promoted to President of the International Company in late 2006. Since then I have worked hard to grow our company in Latin America and in parallel making sure we offer the same level of service and technology we offer in the US. We target new territories in Latin America and we also exit Mexico where we had a limited presence in a mature market.

What is the group's vision and mission? Mission: We are dedicated to making the movie experience memorable, one guest at a time. Vision: Shape the future of the industry by being recognized as the most influential out-of-home network in the world.

How different is Cinemark's proposition in terms of ambience, services, pricing and cinematic luxuries? Cinemark is recognized by the quality of its complexes, for the premium design and unsurpassed presentation.

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• SPECIAL STORY • How is Cinemark responding to the latest cinema technology trends?

Domestic Theatres

Cinemark is working head-to-head with other players in the industry, testing and deploying new formats and concepts. From recliners in the US to Cine Bistro and VIP screens, including XD auditorium, D-Box and new sound systems, etc…

How different is the audience preference in terms of theatre ambience now and then (15 years back)? I believe the patrons are more demanding but also more willing to pay for luxury offers as well as cinematic luxuries.

Tell us about the cinema content and alternate content at Cinemark

International Theatres

Cinemark is among the top companies in terms of alternative content offering, Our Classic Series, Operas, Sports events, Music Concerts, TV Series Special episodes (e.g. Dr Who), etc… We feel this will become more important with time and new contents will continue to be tested.

What is the Group's vision for 2015? 2015 has a potential to be one of the biggest, if not the biggest year ever for the industry. We feel we are ready to take advantage of the awesome film content available.

How interesting do you find CinemaCon for the cinema exhibition ecosystem? CinemaCon is the most relevant event in our Industry and will continue to be in the foreseeable future.

Graphics provided by Cinemark International, LLC.

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• SPECIAL STORY •

Embassy Diplomat Screens

Grandeur Cinema at Your Service If there's anything called luxe cinema experience, it is right here! The magnificent Embassy Diplomat Screens at the upscale Central Embassy, Thailand is an oasis for pure indulgence in premium cinema viewing.

"A visit to a cinema is a little outing in itself. It breaks the monotony of an afternoon or evening; it gives a change from the surroundings of home, however pleasant."The Welsh composer and actor Ivor Novello would have reconsidered his adjective "little outing" had he witnessed the opulence and magnificence of Embassy Diplomat Screens at the new upscale Central Embassy in Bangkok, Thailand! The mall is in fact the highest-end boutique mall in Thailand, and the experience is beyond anything arguably the world over. Designed by the Rockwell Group Europe, Embassy Diplomat Screens consists of five exclusive and private VIP theatres, with only 200 seats in total! The all-VIP Cineplex is a rarity world over. The Screens feature a wine cellar, a full bar and mini bars, call buttons and homely seating, including couches and cocoon-style bed seating. With no regular theatres or seating options, the VIP Screens comprise two large elegant lobbies to serve its guests. Rockwell Group

Europe, led by Managing and Creative Director Diego Gronda, envisioned a mix of elegant and cosy lounge areas and screening rooms. The designers opted for sofa-style seating, allowing more comfort and flexibility. At a US$3 million plus fit out for only 200 chairs, it may be the most expensive per chair cinema ever built! All chairs fold into beds with

pillows and blankets. There's service at your seat, which includes gourmet snacks. The staff members are encouraged to learn the names of loyal customers for a more personalised touch. It is perfect and popular already for private parties and events with groups accounting for 20% of the bookings and expected to hit 30% next year. Although the lobbies are elaborate and luxurious, they are not

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• SPECIAL STORY •

intimidating and overpowering. Repeat customers enjoy the "get away" and tranquillity of the Cineplex. It offers privacy and personal attention at the same time. What may be of interest to the cinema industry is how Embassy Diplomat Screens has made the economics work for such an expensive per seat cinema. At a CapEx of over US$50,000 per seat and a relatively high rent due to the

prime location, preliminary financial analysis suggests a ticket price of close to $100 per seat, something impossible in all jurisdictions, let alone Thailand. Yet the average ticket price paid by the consumer is about US$20, including food. Veteran Jim Patterson, who was featured in the last TheatreWorld edition works under contract consults and manages several projects worldwide so he is also the

Managing Director of Embassy Diplomat Screens as well as Director of Business Development, Major Cineplex explains how this was managed. Canadian Jim Patterson has travelled all over the world and worked with numerous cinema chains. In the past, Jim Patterson was a part-time lecturer at Thammasat University. He was also a president of the NIST School Board and a board member of the Thai-Canadian Chamber of Commerce."I did not design or build this amazing, one of a kind Cineplex, but when I saw the costs to create such a product and the rents for such a prime location, I knew we needed unique promotional partners with a unique structure. So I went out to find 'sponsors' that would not only subsidise the best cinema in town but also buy a "pool" to offer discounts to their customers. We started by offering 20% off to their customers and they were encouraged to increase it to up to 50% by using their pool. This with their cash annual payments enabled us to keep the ticket price reasonable. At just over $20 average including food, we are the lowest average price paid by the consumer for VIP cinema in Thailand, after all these discounts). So it is arguably the best VIP value anywhere, making it accessible". Jim continues: "I do a lot of sponsorships around the word, but this is the highest sponsored theatre per seat in the world. The total sponsorship is about $1.25 million per year for 200 seats and our partners help us keep prices reasonable and communicate the various offers. We have seven long term sponsors: AIS, the largest mobile phone server in Thailand who is the

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• SPECIAL STORY •

Jim Patterson Managing Director Embassy Diplomat Screens

naming sponsor, Bangkok Bank and Krungsri Bank (also large) are the banking sponsors, Noble (creating high end condos in Thailand), Mercedes Benz (their first cinema sponsorship), Heineken and Pepsi. Air Emirates has also recently joined and others are considering. I greatly value the relationships with our landlord, Central, who understand what we bring to the project and they have been very supportive on both rent and promotions. So putting all this together means an incredible first class, personal, exclusive cinema experience and large lobbies not normally associated with small Cineplex's, can be brought to the market at a value price that most can at least afford on special occasions and a haven for professionals looking to get away from the hustle and bustle. I am aiming for a payback period of under four years and while this will be a challenge, it is most attainable. Our first eight months have produced supportive financial results. This is a cinema to be seen and experienced if ever in Bangkok," he adds.

March-April 2015

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BRIAN HALL Thinking Luxury in Cinema!

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• SPECIAL STORY • Brian Hall, CEO of Embassy Diplomat Screens, tells TheatreWorld what sets this opulent all-VIP cinema destination apart from the rest... How does it feel working for a bigger multiplex chain and owning a chain? I always felt like I worked for the audience and for the staff that's part of the team. My job as CEO is to make sure that the whole team is doing the job to support the audience's expectations. The difference when you are in a position with a big multiplex versus being the CEO and the owner of the cinema is you've got one extra group of people to satisfy when you've got the big chain. And you've got to make sure that they understand that the audience comes first. The team

that support the audience is the most importance tool to delivering that objective. Ultimately, it's the customer and the team that's taking care of the customer are really the ones I'm working for and supporting.

Tell us about your experiences in the cinema exhibition industry. Well, I have a somewhat unusual history in cinema exhibition. I actually spent large part of my career in the cinema business working for IMAX. And in those days, going back 15 - 20 years ago, Hollywood movies were not being released in IMAX. So we had to work very different than most cinema exhibitors worked. In traditional cinema business, there is a split of responsibility between the distributor and the exhibitor; with the exhibitor basically looking after logistical and customer service responsibilities; whereas the distributor looks at the

content and the marketing responsibilities. In my early days in IMAX, the content providers simply provided you documentary movies. You had to not only take care of the customer; you had to market those movies as well. So my early career was a little bit different in that I was not just an exhibitor, I was acting very much like a distributor as well in looking after the marketing and really trying to figure out what the customer wanted not just in terms of experience but in terms of content as well. In those years, I worked all over the globe in different markets but I spent fair bit of time in North America and in Australia as well. More recently, in the last 12 years or so, I spent 4 - 5 years working for Major Cineplex group in Thailand in a more traditional cinema exhibitor role. I will give great compliment to Major Cineplex group. I think they do more to understand consumer and market experience to the

March-April 2015

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• SPECIAL STORY • Embassy, which it was home to for many years. They wanted to create a spot in the centre of Bangkok that was an oasis for premium customers. I was inspired by the theme that they took in the original planning for the shopping mall. In working with Rockwell Group on the design, we incorporated the British legacy and the heritage of the site in the design and came up with something unique.

What exactly is your vision and mission in this business?

consumer than most cinema chains do. I took that same kind of attitude, together with my IMAX experience, when I went to Vietnam in establishing and growing the MegaStar Cinema chain. We followed a similar kind of approach trying to be more than just a cinema builder but somebody who was looking after customer's needs and expectations.

What inspired you to start Embassy Diplomat? The answer to that question goes back to eight years ago, when Major Cineplex and I as an employee of Major Cineplex, opened Paragon Cineplex at Siam Paragon. It was a big project. We had 16 screens, and 10 of those screens were what you would call traditional screens but in a spectacular environment. But about six of those screens were really different and unique, exceptionally high quality. They were exceptional experiences for the consumer. And while there was a lot of work, I got a huge amount of enjoyment and my team really loved being a part of those cinemas. And so it always stayed with me... When I got involved in the planning of the Central Embassy Project, I thought why don't we try and do something along similar lines and create a space that is really exceptional and unique. And that was really the inspiration for starting up Embassy Diplomat.

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What business prospects and fortunes did you see in the Project? I'm going to answer that question like a restaurant operator would. There are two reasons you open up a restaurant. Either you open restaurants all over to feed people and make a lot of money or you open a unique restaurant because it's a passion for you. And in this case, it is more like a passion project. I never really started out to make a lot of money. That was not the goal. But like a good restaurant, if you operate it well and you offer a great service and great product to your customers, they become loyal and come back and reward you with a royalty and you can at least make some money. So I never came into this expecting that this is going to make a lot of money.

The idea of Embassy Diplomat is very unique, tell us something about it. It comes from two things. It came from the desire to do something in terms of a cinema experience that is unique, never been done before a level of quality that's better than anywhere in the world. But the second part came from the plan for the whole Central Embassy Project. This is a very rare piece of land in central Bangkok- very rare piece of land that big that has a long history. It was tied into British

The vision and mission is to have the best cinema destination in the world. Going to see movies is one of the rare remaining things that people do in social groups. But one of the things that I found in the last 20 years in this business is that every year, there seems to be another alternative or excuse for people for not going to cinema - Watching it on TV, computer, cell phones... So the vision and mission for me was how do you get people who still want that social experience to be stimulated to come. And my response to that was "you have to be the best". And we are the best place for you to come see a movie.

The market is apparently replete with too many groups and operators jostling for space. What made you foray at this time? Is there a thought that you are already late? We are truly a niche business. To me it doesn't matter that there are other cinema operators that are a ten, hundred or thousand times bigger than us. We are not competing with them. We have a wonderful small space in the middle of Bangkok. We are looking after our own small niche.

The market is dominated by many, big potential and longestablished players. Being new entrant, how would you compete with them?


• SPECIAL STORY • Well, to be very honest, we are not really a new entrant. I have been living in Bangkok for 10 years and our MD Jim Patterson for over 22 years. So we know the market very well. I don't consider myself a new entrant. But I'm not trying to compete with other brands. Our only competitors are ourselves.

What particular strengths and strategies have you brought in? The biggest strength that we have brought and borne out in our strategy is to have some of the best designed cinema auditoriums and screens on the planet. The thing that sets this cinema destination apart from any other even in Thailand, where cinemas are pretty nice already, is the design of the space is really exceptional. And I give a lot of credit for that to our design team, particularly Rockwell Group, who did conceptual design for us. We spent a lot of time looking at the kind of customer we want to have here. These are clients who think5-star. So how do we design lobby space, seating area, auditorium that feels unique and 5-star? I think that's what we achieve more than anything else. Then of course, comes customer service. You can have 5-star deign and atmosphere but if you have 2-star service, the customer will notice. So we work hard to try to make sure the level of service matches to the level of the environment we have offered. And then last but not the least the sound and picture has to be exceptional.

Tell about the latest sound and vision trends at Embassy Diplomat. We utilise state-of-the-art digital projection systems. Our 3D system is supplied by RealD, who are the largest suppliers of 3D systems in the world and we use their best system. We decided they were the best and the ones to go with. Our sound systems are effectively the best for the auditorium size that Dolby has to offer. We have best sound system that you can find in pretty much any March-April 2015

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• SPECIAL STORY • highest ticket prices. There are several other locations in Thailand that consistently have a higher ticket price than here at Central Embassy. We have a relatively high list ticket price but we offer promotional discounts through our partner and sponsor affiliates. So the ticket for the vast majority of our customers is cheaper despite the fact that you are getting a very best cinema experience in this space.

Having taken the plunge, how do you look at the Cinema exhibition industry in the Thailand? The Bangkok market is a very healthy market; it is still growing but not as much as the rest of Thailand. A lot of cinemas are being built outside Bangkok. There is still a growing demand for a premium cinema experience from people who are willing to pay a higher ticket price a double or triple or more!

How much investment has the Group earmarked for cinema business? When do you think you would breakeven?

digital screen here in Thailand or anywhere in the world. And because our spaces are relatively small (we have 50 or 40 seat auditoriums), the screens are oversized and the sound systems are higher than necessary. It actually feels better, stronger and more powerful than you would find in the other spaces.

How different is the Group's proposition in terms of ambience, services, pricing and cinematic luxuries‌

and improving. In a country of 67 million people, whose culture is Buddhism, people put others before oneself - convivially and smiling... there is warm than generosity of spirit in Thai people that comes forward naturally. And so even if your staff may not be the best trained in the world yet, and we keep working towards it, what comes from their heart is better than almost anywhere in the world. So I think our customer service levels are exceptionally high.

I think in terms of the ambience we are the best you find anywhere in Thailand and I challenge you find a space that feels as nice anywhere in the world. In terms of customer service, we are right up there among the best in the world. We are looking constantly at the ways of building

When you look at our proposition in terms of price, there is a very interesting secret. There is a wide belief that because we are best in Thailand, and perhaps the best in the world, we have the highest ticket prices anywhere in Thailand. But that's not true. We don't have the

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As I said earlier, when the investment was made to build the cinemas it was not made with the objective of making a lot of money. The primary objective was to build something unique and wonderful that people will enjoy and want to come back to. The original investment in these cinemas - 5 screens, 200 seats, the surrounding lobbies and supporting infrastructure - cost roughly USD 3 million. And if we continue to do our job well and customers continue to enjoy the experience, may be another 4 - 5 years will give all the money back, which is very good for any cinema, let alone VIP theatres.

Your future plans in cinema exhibition... My future plans are to work with my team to make sure that our customers continue for a long, long time to have the best cinema experience that they could possibly have anywhere in the world, right here, at Embassy Diplomat Screens.


• TECHNOLOGY •

Film Format Series - IV

Explaining

Various Film Formats Over the Years! From the Sept-Oct 2014 issue, we started this series on Various Film Formats with discussion on 35mm film format and its variants. In the last issue (Jan-Feb 2015), we explored Scope, Cinepanoramic and others. In this issue, we continue the series with Showscan, VistaVision and Widescreen. Showscan Developed by special effects expert Douglas Trumbull, Showscan uses 5-perf 65mm [negative] & 70mm [print] film, shot and projected at 60 fps - exceeding the sound film standard of 24 fps by a 2.5 multiple resulting in the most perfect projected image possible. The visual qualities of Showscan films are a brighter, more highly-image with a reduction in the visual persistence of grain structure, deeper colour, smoother motion with greater sharpness, and the perception of depth and three-dimensionality.

50 feet wide. This camera exposed two frames at a time through colour filters. It provided a useable negative area 2.66 times greater than a standard 35mm film, but its 1.96:1 aspect ratio was hardly 'wide' and only possible when footage was properly screened with a special VistaVision projector.

VistaVision Developed by Paramount Pictures, Loren L Ryder and John R. Bishop, head of Paramount's camera and film processing departments, in response to 20th Century-Fox's CinemaScope, it was without anamorphic lenses for camera and projector. Paramount technicians determined that a larger negative printed down to standard 35mm could provide a vastly improved image on screens up to

1.66:1 and favouring the upper twothirds of the image. On similar lines, other studios developed other frames using different aspect ratios such as 1.66:1 [Paramount, 20th CenturyFox's Panoramic Pictures, RKO & Republic], 1.75:1 [MGM, Disney, Warner Bros.] and 1.85:1 [Universal, Columbia & Allied Artists]. These studios began to establish the widescreen process as a standard by instructing their cinematographers to compose images so that all important action could be projected, and nothing would be lost during projection. The studios then, in 1956, unofficially decided upon 1.85:1 as the standard (in USA) for this masked widescreen method.

Widescreen Widescreen implies any spherical film presentation that employs an image on the screen with an aspect ratio wider than 1.37:1, which was the standard ratio until the early 1950s. While experimenting with widening the image, Paramount Pictures in early 1950s, tried developing a new frame by using an aspect ratio of March-April 2015

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• TECHNOLOGY •

Michael's Green Paper In every issue, Michael Karagosian speaks about the motion picture industry transition to digital cinema, the most significant transition in motion pictures since the introduction of sound.

Color-Timing 3D at 14 ft-L In March of 2009, Jerry Pierce, David

projector can only be seen by one

any time before. But distributors are

Reisner, and Kevin Wines organized

eye in 3D (a left eye image or a right

reasonably concerned about adding

an ISDCF demonstration of 3D

eye image), where the same eye will

more versions of the movie to their

projection at various light levels,

see 100% of the light from the

already over-burdened workflow.

along with 3D content color also

projector in 2D. Faced with the

Understandably, they don't want to

timed for various light levels.

reality of inefficiency, but wanting to

produce movies color-timed for 4 ft-

encourage brighter 3D screens, DCI

L, 6 ft-L, and 14 ft-L. However, what

took the path of recommending 7 ft-

if they were to only distribute 3D

L for 3D in exhibition. The

color-timed for 14 ft-L? The

recommendation didn't get much

immediate thought is that exhibitors

attention. RealD, a leader in 3D add-

with systems capable of 14 ft-L 3D

on technology and glasses, advised

would be the primary beneficiaries.

its customers to target 6 ft-L.

However, the tests conducted back in

The ISDCF demonstration was remarkable even though its results were modest. Recollection hints that, due to the constraint of time, not every combination of color timing and screen illumination was demonstrated. But fortunately, those who prepared the content and the

Fast forward to today, and

demonstration were able to witness a

competitive high brightness 3D

lot more. The surprise was that

solutions are available. New cinema

content color-timed for 14 ft-L

installations largely take advantage

looked good at lower light levels,

of this, reporting the achievement of

and possibly better than content

light levels well above 6 ft-L. Christie

specifically color-timed for the same

says its laser projector installations

low light levels. That result was

will achieve 14 ft-L 3D, but high

certainly contrary to conventional

brightness 3D is not limited to laser

wisdom. But it was not possible to act

projection. RealD and MasterImage

on this information at that time. No

each market efficient 3D systems that

one would have thought to color-

work with xenon projectors. There is

timing at 14 ft-L, as exhibitors were

no disagreement that the best 3D

struggling to display 3D at 4 ft-L.

experience for the audience will

And exhibitors were not keen about

indeed be at 14 ft-L. But if the 3D

any attempt by Hollywood to alter

produced by distributors is color-

their profitable run with 3D.

timed for 6 ft-L, then it will look

Exhibitors have reason to be sensitive to efforts to establish 3D light levels. Many 3D systems, even today, are very inefficient. Even the best 3D system can only be 50% efficient,

washed out at higher light levels, causing the exhibitor to ratchet

14 ft-L graded version will look better than versions color timed for lesser ft-L 3D presentation. In which case exhibitors will simply be encouraged to light their screens the best they can, and know that the content will look as good as it can. At the very least, exhibitors will be rewarded for their efforts to put more light on their 3D screens, rather than foiled. A critical component of this change would be to refrain from regulation. Until the day arrives when 14 ft-L is easily achievable on a wide scale, exhibitors should simply be encouraged to do the best they can, knowing that 14 ft-L is the goal. There are other benefits than

brightness system. This is clearly not

audience satisfaction that should

the behavior that the industry seeks.

encourage brighter 3D. Filmmakers

Cinematographers have long been

considerably less. Consider that,

clamoring for 14 ft-L 3D. They are

at best, 50% of the light from the

closer to getting that today than at

March-April 2015

not be so. It may actually be that the

down the light level of their high

and the efficiency of real systems are

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March 2009 indicate that this may

need to know that there are good screens for their 3D movies. At the end of January, director Jean-Pierre Jeunet screened his latest 3D work in


• TECHNOLOGY • Los Angeles, The Young And

clearly disenchanted that a 3D movie

with efficient distribution would

Prodigious T.S. Spivet . All

only looks good the first weekend,

help. But the industry can't rely on

photography was captured with 3D

after which it can only be seen on a

the memory of a test made over

camera, with impressive quality.

dark screen. If filmmakers are no

5 years ago. It would be wise to

During the Q&A session that

longer excited by the format, then

reconstruct the test, to learn if the

followed, the director indicated that

3D will simply wilt away.

results can be repeated. If distributors

he wasn't eager to do another. It was evident that it required a lot of work to do such a fine job, but he was

Encouragement is needed to install brighter 3D in cinemas. Doing so

can be guided that it's only necessary to color-time 3D at 14 ft-L, it would create a win-win situation for all.

Fixing the DCP with Track File Prioritization The digital cinema rollout brought

elements such as picture data could

The entire content work, which is

cinemas everywhere to a uniform

be reused. This required modularity.

approved by the filmmaker and

technology, for the first time in

The format had to be extensible, as

carries the copyright, is called a

generations, and perhaps for the last

we were certain some things would

"composition." (A point of history -

time ever. In a competitive

change.

the name "composition" was coined

marketplace, non-uniformity wins. With that in mind, it would be smart to look at how to best manage it.

All of these requirements were successfully addressed by the DCP

by Mike Bruns, who was with Grass Valley at the time).

concept. The concept is quite simple:

Looking back with the wisdom of

The DCP is a good place to start, with

each file of content contains only

time, our focus for addressing

so much pain expressed about

one essence type: these are called

change was limited to the content

changing it. Having organized and

"track files." Track files are organized

domain. We didn't consider the need

led the team that developed the DCP

temporally: these are called "reels,"

to address a change in technology

concept in December 2001, and

borrowing the term from film.

for the DCP itself. As a result, the

having authored the first documents

Conceptually, there is no limit to the

industry finds itself attempting to

and presentation about it, I'll be the

number of track files required for a

introduce newer versions of track

first to admit that it's overdue for

movie, and no limit to the number of

files and CPL through the mechanism

review. When we set out to solve the

reels. In practice, limits are applied.

intended for content change.

problem of content distribution, we

New track file types can be

A different version of the DCP is

undertook a number of problems to

introduced at any time without

created for each new technology

solve. Foremost was that filmmakers

breaking the structure, meeting the

revision, even though each new DCP

needed a concrete package that

need for extensibility. Track files are

so created represents a duplicative

could be approved as a final product

organized by means of a playlist,

version of the digital work. This is

and to which copyright could be

called the "composition playlist."

unnecessary from a creative and

applied. We weren't streaming content and we weren't delivering a DVD with married trailers, so tools developed for the broadcast and consumer markets couldn't be applied. We were looking at 100's of gigabytes of information, so we needed the ability to organize it into manageable chunks. It was not uncommon for distributors to insert partial productions in the distribution pipeline while things such as product placement and credits were sorted out. With film, this process was handled by holding back, or simply replacing, reels of film. So temporal organization would best suit the business model. Sound tracks and subtitles would be distributed in different languages, so it would be efficient if certain March-April 2015

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• TECHNOLOGY • business point-of-view, introducing

Microsoft Internet Explorer 11

utilize. For example, if a system could

numerous inefficiencies that create

browser versus that for other versions

read SMPTE DCP distributions, but

friction.

of Internet Explorer. IE 8 was released

was unable to play SMPTE 428-7

4 1/2 years prior to version 11, and

subtitles, then it could revert to the

versions 9 and 10 released in-

CineCanvas track file in the

between. Presumably, the equipment

distribution.

A classic example is the subtitle track file (also known as a caption track file). For historical reasons, there are two technologies used to describe subtitles in digital cinema: CineCanvas (SMPTE RDD 20), and SMPTE ST 428-7 Subtitles. Not all equipment in the field can read SMPTE ST 428-7 subtitles, but CineCanvas will work everywhere. A problem exists because the industry now wants to distribute 428-7 subtitles everywhere. Further, the subtitle problem is compounded by lumping the introduction of 428-7 subtitles with changes in other track files and the CPL itself (altogether comprising the revised DCP called SMPTE DCP). To underscore the earlier point: the switch to 428-7 subtitles (as well as the switch to SMPTE DCP), represents only a change in technology of the distribution, and not a different version of the motion picture work that the DCP defines. There are better ways to manage technology change. To more easily illustrate the concept I wish to introduce, I will focus solely on the change to distribute SMPTE 428-7 subtitles. Since 428-7 subtitles cannot be read by all equipment, but most certainly can be read by new equipment, then it's only a matter of time before old equipment is replaced with newer more capable equipment, allowing 428-7 subtitles to play everywhere. But distributors worldwide could be waiting a very long time for this to happen. The subtitle issue is particularly difficult, as it cannot be fixed simply by software. Even if it could be fixed by software, there would still be the software upgrade cycle to consider.

on which the browsers are installed is connected to the internet (a good reason to have a browser), which should facilitate the ease of upgrade. But according to NetMarketShare, the number of users of IE 11 browsers today is only 42% of the total market of IE users. IE 8, the oldest browser of the lot, has a whopping 34% of IE's market share. (If one thinks this analysis is skewed to favor my point, I would disagree. If the market share of IE 8 was 0%, the total IE market share of version 11, the latest version, would be much closer to 100%.) The point is that there are more factors that impact the upgrade process than mere availability of the upgrade. If anyone thinks digital cinema is going to experience faster upgrades than Microsoft scores, I believe they're in for a surprise.

While the mention of SMPTE DCP in the above example will no doubt raise smiles, the more effective scheme would be to first add track file prioritization to Interop DCP. It would avoid the risks associated with other baggage carried by SMPTE DCP, i.e., the small differences in CPL XML and track file MXF wrapping that can break untested systems. If the new DCP is properly constructed, the older system that has never been upgraded and ignorant of SMPTE 428-7 subtitles will ignore it in favor of the subtitle track file that it does know. Newer and upgraded systems would be able to take advantage of the newer track file. Understanding that the need for distributors to support Interop DCP will continue for a very long time, the concept of track file prioritization would allow

A more effective way to address

distributors to introduce new

technology change in the DCP, than

features without breaking old

reliance on universal transformation

systems, and doing so without

through upgrades, is through the

adding more DCPs and KDMs to

prioritization of track files. If both

manage. In the manner in which the

CineCanvas and SMPTE 428-7

industry is approaching technology

subtitles were to co-exist in the same

change today, without track file

DCP, then distributors would be

prioritization, distributors will be

relieved of the burden of multiple

required to distribute the same work

distributions to accommodate both

in two different technologies of

technologies of subtitle. The DCP

distribution package, a scheme

itself would still represent a unique

fraught with inefficiency and prone

digital work, but the inefficiency of

to error, in order to take advantage

duplicative works would be avoided.

of something as simple as 3D

Another boon would be that owners

subtitling.

of newer and upgraded equipment would be rewarded with the ability to exploit advantages offered by newer subtitles, such as stereographic subtitles, an upcoming feature of SMPTE 428-7. At the exhibitor side, the prioritization process would be

To put the software upgrade

simple: play the newest technology

problem in a familiar context,

of track file available in the

consider the number of users of the

distribution which the system can

Track file prioritization for accommodating technology changes is a big pill for the industry to swallow. If done properly, it would require formalization of Interop documents: anathema to some, yet long overdue considering its use in 130,000 screens worldwide. The medicine is worth examining.

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

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• INSTALLS •

JT Bioscoop Eindhoven

Glowing in the City of Light!

One of the oldest cities in the Netherlands, Eindhoven is well known for its high-tech industry and cuttingedge design. In the centre of Eindhoven, JT Bioscopen opened a brand new Cineplex in December 2014. Surrounded by shops, restaurants and only a few minutes away from the central station, JT Bioscoop Eindhoven is the perfect location to enjoy a night out in the city. The cinema is located in front of the Blob, the characteristic glass building shaped in the form of a drop. JT Bioscoop Eindhoven is one of the biggest cinemas of the JT branch and hosts eight screens and 1537 seats. JT Bioscopen and Dolby Laboratories also announced the opening of Dolby Cinema in the newly-constructed cinema complex of JT Eindhoven. Dolby Cinema, a branded premium cinema experience, combines spectacular image and sound technologies with inspired design to make every visit a completely captivating cinematic event. It is equipped with state-of-the-art image, sound, and acoustic capabilities. In addition, the design of the Dolby Cinema in Eindhoven was created to set a mood and draw audiences deeper into the story-while delivering the full impact of the filmmaker's work.

In the Technology Hub In Holland, Eindhoven is known as the city of light, because of the origin of Philips in Eindhoven. With the technical university, the Design Academy and a lot of innovative companies that are based in Eindhoven, the city is leading in technology. That makes Eindhoven the perfect spot for JT Bioscopen, with the focus on innovative techniques and creating a personal experience for every visitor. In addition to the unique Dolby Cinema auditorium, JT Bioscoop Eindhoven also hosts two Dolby Atmos screens and a private screen with 50 seats, for small groups to create an intimate screening. Ron Sterk, CEO, JT Bioscopen, says "This branded premium cinema concept by Dolby is a big step for the industry, and we are proud to be the first cinema in the Netherlands with a

One of the most ambitious cinema chains in Europe, JT Bioscopen opened a new Cineplex in the centre of Eindhoven. JT Bioscoop Eindhoven is one of the biggest cinemas of the JT branch, hosting eight screens and 1537 seats.

Dolby Cinema in its complex. We are convinced that Eindhoven, known as 'the city of the future,' is a logical place for this introduction."

Excellent Service JT Bioscopen wants to be a distinctive movie theatre chain, which offers customers a hospitable environment and a personal experience. JT Bioscopen serves different target groups, with events such as Toddler Screenings, Girls Only, Men Only and alternative content with live opera and ballet showings. Every month there is a Ladies Only evening. Especially for the ultimate film freaks, there is a Sneak Preview showing every week. JT Bioscopen is situated in Alkmaar, Alphen aan den Rijn, Amersfoort, Apeldoorn, Arnhem, Den Bosch, Deventer, Doetinchem, Eindhoven, Gorinchem, Heerhugowaard, Hilversum, Hoogeveen, Hoogezand, Hoorn, Kerkrade, Nijmegen, Purmerend, Steenwijk, and Vlaardingen. In December 2015, JT Bioscopen will open a new cineplex in Alkmaar, which makes JT Bioscopen the most ambitious cinema chain in Europe.

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• INSTALLS •

Novo Cinemas, Qatar

An Extravagant Experience

Redefining the future of cinema-going in the Arab world, Novo Cinemas opened its flagship facility at the luxury island destination, the Pearl-Qatar, bringing an innovative cinematic experience to the residents of the country. An important business hub in the Arabian Peninsula, Qatar happens to be a significant cultural landscape in the region. Novo Cinemas, the Middle East's largest chain of cinemas and a subsidiary of Qatar Media Services (q.media), opened its doors to the residents of Qatar. Promising a complete entertainment experience with cutting-edge cinema technology and luxury premium facilities, the flagship cineplex at The Pearl, Qatar will boast standout features that include 1,456 seats over 10 state-ofthe-art screens. Cinema-goers can customise their night out through a clearly differentiated choice of seating and theatre options. Novo Cool and Novo Edge represent the variety of seating positions within the theatre, from standard seats to superior backrow seats. Meanwhile, three theatre classes define the type of experience to be had. Novo 3D brings the exhilarating experience of 3D visuals to the viewer's world, while Novo IMAX represents the world's leading immersive cinema experience, and

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further strengthens Novo's position as having the largest network of IMAX screens in the Middle East.

However the most extravagant experience is Novo 7-STAR, which offers unprecedented levels of comfort with fully reclining leather seats and convenient side tables, private lounge areas, individual iPads for easy ordering from the comfort of one's seat and personalised service with premium menu served on chinaware -- a deluxe offering guaranteed to make every viewing experience unique and memorable.


• INSTALLS •

Commenting on the opening, Acting Group CEO of q.media, Jaber Al Ansari, said: "We are very proud to bring premium cinema to Qatar. Novo Cinemas enjoys a long legacy of innovation and pioneering technologies in the region. Qatar Media and Novo Cinemas will continue to push boundaries and strive to take the movie experience to new heights." CEO of Novo Cinemas, Debbie Stanford-Kristiansen, said: "We are absolutely thrilled and excited to be bringing a new era of entertainment to the residents of Qatar. We are confident that Novo Cinemas will further bolster Qatar's innovation and growth in the regional market, and ensure our customers an experience that reflects our persistent desire to shape the future of cinema, because at Novo, a great movie is just the beginning." Opening week comprised a recordbreaking slate of blockbuster movies, including: Transformers: Age of Extinction, Sone3a Fi Masr starring Ahmed Helmy, The Purge: Anarchy, Dawn of the Planet of the Apes, Planes: Fire & Rescue, Tammy, Step Up: All In and Kick. Novo Cinemas' journey began in 2000 under the Grand Cinemas brand. The launch of the flagship Grand Cineplex in Dubai, United Arab Emirates, was the cornerstone of an entertainment chain that would soon extend across borders and introduce to the region such pioneering technologies as online booking, e-kiosks and the first cinema-dedicated mobile app, in addition to the UAE's only IMAX screen. In 2012, Grand Cinemas was

Raising the bar, the premium cinema at the Pearl-Qatar offers the convenience of a freestanding multiplex, the grandeur of a skylit atrium, exclusive amenities and superior comfort of the Novo 7-STAR experience, and the world-renowned immersion of the IMAX screen. acquired by Qatar Media Services as part of the Gulf Film Group. Attuned to the evolving social habits and needs of today's movie-goers, in 2014 the chain was re-inaugurated as Novo Cinemas.

Ongoing expansion is expected to see their numbers grow to over 200 screens by 2015 - in Bahrain's Seef Muharraq Mall, Dubai's Dragon Mart and Al Ain's Boutik Mall, to name a few - and our IMAX network extended to four spectacular screens.

FACT FILE Architects Interior Architects / Interior Designer: Consultants Building Services (HVAC, Plumbing, FFTG, Elect): Contractors Electrical:

Era Architects EGEC Al Futtaim

Equipment Projectors: Processors: Amplifiers:

Barco Series 2 + Doremi IMS + DepthQ 3D Dolby CP750 Crown Dsi

Audi Equipment Speakers: Screen: Seating: Carpets: Acoustical materials:

JBL Series 5 - 3 Ways / 3 amplification Harkness Screens Ferco Seating EGE Carpets Middle East and Africa Walltracts

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• INSTALLS •

Estonian Independent Cinemas

Embrace 4K and 3D Technology Sony brings the world's sharpest and most advanced cinema technology to smaller Estonian independent cinema communities. In 2015, 4K and 3D technologies have hit the countryside of Estonia. The best cinema technology is no longer limited to the big screen, with smaller cinemas gaining access to a state-ofthe-art cinema environment. "Smaller cinemas should not shy away from the new technology, but rather see it as an opportunity. The world's sharpest and most advanced cinema technology is now available to them, at a reasonable price. We see a great interest from Estonia's independent cinemas, and some of them have already invested in Sony Digital Cinema 4K solutions with great success", said Raivo Kraus, Sony's partner at Miterassa Ltd.

Affordable Option Last year, Miterassa installed several 4K projectors from Sony in a selection of smaller independent cinemas and they expect to continue at the same pace in 2015. Miterassa has installed the SRXR510 and SRX-R515, both high-end 4K digital cinema projection systems designed for use in small and medium sized screens. "The models within the 500 series are affordable options for many of our independent cinemas here in Estonia, requiring minimal maintenance, helping to reduce overall running costs. This is just one of the many reasons why Sony's Digital Cinema 4K

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solutions should be the #1 choice for quality-conscious cinemas of any size", said Kraus.

Deserves the Best The Estonian audience has embraced both 4K and 3D technology, highlighting the spectacular image quality on screen. For 3D viewing the reusable glasses complement the cinemas' green thinking policy and provide a very cost efficient solution for the cinema. "Everybody deserves the best picture technology when enjoying a good movie, and Sony's digital cinema solutions offer the best possible viewing experience. We very much see

this as a social project as well enabling people in rural areas to have the very best cinema experience, regardless of where they live. They too can now enjoy content with crystalclear picture quality," said Kraus. "At Foundation Võru Kannel, we believe in offering the best available technology to our cinema audience, as picture quality is central to all film lovers, whether you live in a small community or in a big city. It's important that we focus on strengthening our cinema offering with the latest technology available. By investing in Sony Digital Cinema 4K solutions we enable our independent cinemas to secure a competitive advantage, offering audiences the very best viewing experience," said Heiki Kelp at Võru Kannel.

The New Standard The Tallinn University, Baltic Film and Media School (BFM), was the first cinema to install Sony 4K Digital Cinema solutions with an SRX-R515 and a modern audio system. Their commitment to 4K has established a new standard for the Estonian cinema industry. "Sony has developed a solid position within the cinema industry in Estonia. By investing in 4K and 3D technology, the cinemas have set the standard for the future, making sure their local audiences have access to the best technology available - securing the best film experience possible", said Tore Mortensen, Business Manager at Sony Nordic.


Australian International Movie Convention Celebrates 70 Years

The 2015 Australian International Movie Convention will be a very special event. It marks the 70th year since a few cinema owners and film distributors gathered for a common cause - the love of movie. The 2015 Australian International Movie Convention (AIMC) marks the 70th year since a few cinema owners and film distributors gathered for a common cause - the love of movie. From humble beginnings, the AIMC has grown to be one of the great film conventions in the world. The 2015 AIMC will, once again, be hosted by the National Association

of Cinema Operators-Australasia (NACO) and will run from October 11-15 at Jupiters Hotel & Casino at Broadbeach on Queensland's Gold Coast. The AIMC brings exhibitors, distributors, producers and allied trades and suppliers together in one place for four days - and provides an

opportunity for industry participants to make a smart investment in their businesses. From those humble beginnings as a Queensland state-based conference in the mid-1940s with only about 60 delegates, the Convention grew to around 200 delegates by the 1970s, increased steadily to around 550 in the mid-1990s, and now hosts over 1,000 delegates. To reflect the growth in delegates nationally, the Convention was officially branded as the "Australian National Movie Convention" in 1989. The Gold Coast became the official "home" of the Convention. In 2000, as a reflection of the increasing number of International speakers and delegates, the Convention was rebranded as the "Australian International Movie Convention", as it is now known. In 1992, the inaugural Australian Star of the Year Award was won by Paul Mercurio for Strictly Ballroom. Since then other actors to be honoured, all of whom have gone March-April 2015

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on to international success, have included Russell Crowe, Eric Bana, Hugo Weaving, Geoffrey Rush, Jack Thompson, Hugh Jackman, Jacki Weaver, Ben Mendelsohn, Michael Caton and the late Heath Ledger.

2015 AIMC A very special event is planned to celebrate the 70th year of the AIMC. Many of the presentations, functions and screenings will feature theming and footage from the last 70 years. Displays are planned of movies, equipment, costumes, photos and other memorabilia from the past seven decades. October 11 will see an Australian Premiere Film Event which provides an opportunity to encourage participation from local government, businesses and the community. The Trade Show offers allied businesses the chance to showcase

the latest equipment and trends from the international market. The film distributors present their upcoming product slate to the key decision makers in the exhibition market via presentations and screenings. Guest speakers and presenters update delegates on international trends affecting not only the industry but also on a range of topics relating to business in general. Networking functions provide opportunity for delegates to interact with their peers in a social atmosphere. These include seated dinner functions, an exclusive delegate bar each evening and gala convention wrap party. Throughout the convention, awards recognising achievements for the preceding year for box office grosses, cinema owner/ operators, and individual industry honours are presented.

The Australian Market* The 2014 box office of $1,074 billion demonstrated that cinema going is still one of the most popular forms of entertainment in Australia, despite a slight decrease from 2013. 2015 is shaping up to be one of the biggest & most exciting years in the film industry with a formidable lineup and the MPDAA distributors are eager to share all the latest film clips and material to enable exhibitors to better plan, prepare and optimise their box office takings on all our releases. It is estimated that 95% of the total 2041 cinema screens in Australia have converted to digital projection. Of the country's 2041 screens, 1204 are operated by the four major exhibitors in Australia Amalgamated Holdings Ltd (Event / Greater Union / Birch, Carroll and Coyle brands), Hoyts Cinemas, Village Cinemas and Reading Cinemas. Australia enjoys a strong independent cinema segment, with five independent operators controlling 130 screens over multiple locations. As a mature market, further expansion is limited. A refurbishment program is likely to be undertaken as many cinemas approach lease term renewals. Australia has some of the best exhibition minds in the world who will continue to focus on what is required to get people out of their homes and into the cinema environment. It is possible that

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and as a service to the film industry in the Australia/Pacific region.

within the next five years one could see satellite delivery - currently limited to mostly alternate content.

There has been a very significant investment by exhibitors in Australia, New Zealand and the Pacific region, with 2,041 screens in nearly 500 locations in Australia and over 400 screens in New Zealand. More than 10,000 people are employed in the cinema industry, and the big screen consistently rates as one of the top social outings for all demographics.

Australians generally embrace a broad range of movies and have a strong acceptance of international movies as well as those from the Hollywood studios. Of the 505 movies released in 2014, 233 or 46% were foreign language films. The top 10 films of 2014 represented a significant 25.4% of the total annual box office and included a strong mix of franchises such as The Hunger Games: Mockingjay Part 1, Transformers: Age of Extinction, X-Men: Days of Future Past as well as broad appeal animation hits The Lego Movie, Frozen, How to Train Your Dragon 2 and Guardians of the Galaxy, Gone Girl, The Wolf of Wall Street and 22 Jump Street rounded out the biggest movies of the year.

2014 at a Glance* BOX OFFICE • 2014 Box Office - $1,074,565,480 • 2.28 on last year ($1,099,615,801) • Highest year on record was 2010 - $1,128,498,000 ALL FILMS RELEASED 505 Films released in 2014 (421 in 2013) (421 in 2012) AUSTRALIAN FILM DETAILS 39 Aus films released in 2014 (26 in 2013) (27 in 2012) AVERAGE TICKET PRICE $13.68 Average ticket price in 2014 ($13.41 in 2013) (13.10 in 2012) SCREENS AND THEATRES • 2041 screens in 2014 (2057 in 2013) (1991 in 2012) • 489 Theatres in 2014 (486 in 2013) (478 in 2012) • 918 3D Screens in 2014 (916 in 2013) MOVIES COUNTRY OF ORIGIN 37 countries in 2014 (26 in 2013) India Movies 87 in 2014 (75 in 2013) China Movies 13 in 2014 (10 in 2013)

Hong Kong Movies 13 in 2014 (8 in 2013)

National Association of Cinema OperatorsAustralasia (NACO) A national association of cinema operators did not happen overnight. For most of the past 70 years, cinema exhibition has been represented by various state associations, independent associations, trade associations, employer associations and state chambers of commerce, but never by a national association made up entirely of cinema exhibitors, until 2011. In that year, NACO evolved out of the Motion Picture Exhibitors Association of Queensland (MPEAQ), which was incorporated in 1947. NACO continues to host the annual AIMC as part of this long tradition

NACO's primary objective is to protect this very substantial investment made by its members. It is an organisation for all exhibitors majors; independents; multi-screen; single screen; or drive-in - from the city or the country - and it represents all member exhibitors, irrespective of their size or structure, in genuine, whole-of-industry issues. These issues could include film theft, licencing fees, film classification, collapsing of windows, digitalisation. NACO supports the activities of the two key agencies in Australia working to protect the industry from film piracy - the Australian Screen Association and the IP Awareness Foundation - as well as working with the film distributors through the Motion Picture Distributors Association of Australia (MPDAA) and the Australian Independent Distributors Association (AIDA). It also works with international organisations such as the National Association of Theater Owners (NATO) and the Motion Picture Association of America (MPAA) in the US. NACO has collaborated with ASA/ AFACT, MPDAA and the Australian Home Entertainment Distributors Association (AHEDA) in the preparation of submissions to government relating to new standards of regulation of telecommunications, television, radio and the internet. *source - The Motion Picture Distributors Association of Australia

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PREVIEW

20 - 23 April 2015 Caesars Palace, Las Vegas

2015 is a milestone year for CinemaCon, with Fifth Year of Celebrating the Moviegoing Experience! Since taking its first step in 2011, CinemaCon has evolved and grown to become the largest and most important gathering for the worldwide motion picture theatre industry. CinemaCon is a global event attracting attendees from more than 80 countries.

Highlights From exclusive Hollywood product presentations debuting a slate of upcoming films, to must-see premiere feature screenings, to the biggest stars, producers and directors, CinemaCon, the Official Convention of The National Association of Theatre Owners (NATO), will jumpstart the excitement and buzz that surrounds the summer season (and beyond) at the box office. The CinemaCon schedule will be broad, diverse, educational and fun, and will feature the largest cinema trade show in the world. It will appeal to and attract all facets of the international motion picture theatre industry-exhibition, distribution, marketing, publicity and advertising, internet and social media and of course, the theatre equipment and concessions manufacturers and dealers who will showcase the latest technological advances and innovative concession offerings at the trade show, which is

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run in association with partners at ICTA and NAC. As well, CinemaCon will once again incorporate a special day of programming geared just for the international marketplace, that being 20 April 2015. For the fifth consecutive year, Caesars Palace will be the home of CinemaCon. As one of Las Vegas' leading casino hotels, the upscale surroundings of Caesars Palace will offer CinemaCon delegates the very best with its beautiful conference centre, the finest hotel accommodations, world-class restaurants, and the magnificent Colosseum, the state-of-the-art venue that proudly allows CinemaCon to showcase all studio screenings and presentations in the ultimate theatre setting.

Attendees Whether you work in Cinema Exhibition, Film Distribution or Production, or, in the Equipment or Concession fields, CinemaCon is where you should be, come 20 April. If you're involved in Marketing, Advertising or the burgeoning field of Social Media Networking, CinemaCon is where you should be. And, should your field of expertise be in the design, construction or financing of movie theatres or the exciting world of digital cinema, then CinemaCon is where you definitely should be come. So, if it's networking with peers old and new, being a part of exclusive studio presentations and screenings highlighting the upcoming summer slate of releases, catching up on


what it takes to outfit and run a state-of-the art motion picture theatre, sitting down and talking with the key executives and decision makers from the nation's theatres, or, listening to some of today's top stars and filmmakers, then you won't want to miss out on CinemaCon 2015. Today's moviegoer is savvy, discriminating and extremely knowledgeable. When it comes to selecting a theatre to see a film, that same moviegoer would rather drive the extra distance to ensure they are getting the ultimate, state-of-the-art presentation and theatrical experience possible. Today's demanding moviegoer is looking for optimum picture and sound quality, theatre seats that provide great comfort, a ticketing system that is quick and efficient, a concession stand that offers a diverse array of food and beverage items and a theatre setting that provides the best amenities imaginable-all of which makes that moviegoing experience worth driving the extra distance. Today's cinema owner is just as demanding and discriminating when it comes to the building of new theatres or the remodeling and maintenance of existing theatres. The theatre market is competitive and the stakes are high.

CinemaCon serves that competitive, high-stakes market. Giving cinema owners from all over the world the opportunity to experience the latest and most important advances in the world of theatre equipment and concession products, CinemaCon offers the world's largest platform geared specifically for the motion picture theatre owner. It is here that decision making cinema owners and

executives walk the aisles, keeping an eye out for new equipment, products and services that will help make theirs the "go-to" theatres. When it comes to CinemaCon 2015, The Best Is Yet To Come. And when it comes to Celebrating the Moviegoing Experience, it all starts at Caesars Palace in 2015 at CinemaCon,

FLOOR PLAN

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EXHIBITORS 4DX 2003, 2002A A.R. Mays Construction 329F ACS Enterprises 919 Adaptive Micro Systems 1037F Advanced Graphics 2817 Advanced Specialty Lighting 2307 AICP / SwayJack 825F Air Comm Radio 718F Alcons Audio USA 2823 All Cinema Sales & Services 730F American Cinema Equipment 2613A American Licorice Company 627F Artisans Hospitality 237F Arts Alliance Media 2111 AutoFry 1009F Ballantyne Strong 2403 Barco 2313A Be Media 2603 Before The Movie 2119 Beijing Jinhaoyuan Purification 2210 Benchmark Games 224 Betson Enterprises 225F BGW Systems 2803A Boca Systems 1020 Brakebush Brothers 1031F Bright Star Systems 2325A Brunswick Bowling 128F Burgeree New Technology 1026 C. Cretors and Co. 413F Caddy Products 620F Caiz Optronics Ltd. 2224A California Seating & Repair 637F Camatic Seating 713F Cawley Company 110F CFG Appotronics 2017 Chestnut Identity Apparel 738F Christie 2203 Cima Network 726F Cine Digital Manager 2513 CineCardz 2406 Cinedavis GmbH 2714A Cinema Equipment and Supplies 819F Cinema Lighting Corp 628F Cinema Party Software 333 Cinema Scene Marketing 831F, 837F Cinema Solutions 1024 Cinemeccanica SPA 2703A Cinetransformer International 2616 Coca-Cola Company, The 401F Color Ad Packaging 315 ConAgra Foodservice 630F Continental Concession Supplies 520F Creative Works 238F Crossville 2103 CRU 2815A D-BOX Technologies 2310 dcinex / Ymagis Group 2012A Dealflicks 2821 DEEL Media 1007F DepthQ 3D / Lightspeed Design 2602 Dippin' Dots 720 Dolby Laboratories 2303 Dole Packaged Foods 1039F Dolphin Seating 429F, 529F Durkan 424F Dynamic Designs & Associates 2125A Ecolighting 2215 Eda Movie 131 Eisenberg Sausage 307F Embedded Processor Designs 917F Enpar Audio 428F Entertainment Supply & Tech 338F Eomac 717F Era Architects 2105 ETRI 2115 Everything Cinema 631F E-wave Group S.A. 2517 FBD Partnership, LP 216F Figueras International Seating 2507 Film-Tech Cinema Systems 2807A

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Firestone Financial 327 First Class Seating 2719A Forbo Flooring Systems 2118 Fox Blocks 118F Franklin Designs 317F Frankston Packaging 916F Funacho 404 Fuyi Acoustics 1028F G&S Acoustics 328F GDC Technology of America LLC 2318A Gehl Foods 716F Gold Medal Products 707F Golden Link Inc. 936F Great Western 418F, 420F Haaga Sweepers 2712A Harkness Screens 2413 HARMAN Pro Cinema Milano2 HB Optical 2221 Hershey Company 419F High Performance Stereo 2801A Hollywood Movie Money 1005F Hytex Industries Inc 629F ICEE 109F ICTA 2516A InComm 231F Inorca Seating 913F INTEG Process Group 2612 IntensNet 2726A Inter-Grain / Kadosa Int'l 728F International Elec Wire & Cable 1018 International Play Company 2811A Irwin Seating Company 201F J&J Snack Foods Corp 1027F Jack Roe USA Inc 907F JBL/Crown 301F JKR Partners 933F Jolly Time Pop Corn 828F Kernel Seasons 1032F Kickers Powdered Fruit Blends 817F Klipsch Group 2519A Krian Media 132F Lancer Corp 416F LBI/BOYD Acoustical Products 912F LIght Bulb Scaffold System 2001A Logix ICF 733F Look3D Eyewear 2214 Magna-Tech Electronic 2314 MARS Chocolate, North America 701F Martek Contracts 729F Max-R 140F MediaMation 2617A Mesbur+Smith Architects 325 Meyer Sound 807F Michael Wolf Interiors / DBA Wolf Theatre Services 929 Mier's Ice Cream 2021 Mobiliario, SA 801F Moviead / Bass Elements 636F Moving Image Technologies 2419A NAC 1030F Nathan's Famous 1001F NCR Corporation 2713A Nebraska Popcorn Sales, Inc. 633F NEC Display Solutions Milano1 Nestle USA 512F Odell's 725F Odyssey Products 2609 Omniterm 625F Original Gourmet Food 918 Osram 2211 Otto Trading 2010A Packaging Concepts 824F Palliser Encore 2614 Paradigm Design 126F Parkway Construction 2819 Partner Tech USA 836F Peach Digital Limited 229F Pelican Productions 925 PepsiCo Foodservice 101F Philips LightVibes 2317

Philips Specialty Lighting 2503 Plusrite Specialty Lighting 2525A Popcornopolis 1006F Pot O' Gold 120F Power Technology, Inc. 2824 Preferred Popcorn 924F Pretzelhaus Bakery 305 Prime Ticket 119F Proctor Companies 113F Progressive Flooring 233F Promotion In Motion 318F ProSTAR Industries 219F QSC Audio Products 213F Quest Cinema Climate Control 104F Quik n' Crispy Greaseless Fryers 2724A RadioBoss 2-Way Radios 927 RCM Media 230F Ready Theatre Systems 2225A Renovia 133 Retriever Software Inc 830F Ricos Products Co, Inc 319F Robopop 1021F Royal Corporation 207F SCA Tissue North America 829F Schneider Optics 2417 Schult Industries 813F Seating Concepts 513F Sensible Cinema Software 114F Severtson Screens 2107 Shenzhen HCBL Technology 2212 Shenzhen HONY Optical 2515 Shenzhen Levision Technology 2008A Showtime Analytics 2708 Simply Right 436F SLS Audio 2018 Sonic Equipment Company 2424A Soundfold Inc 330 Spirit Realty Capital 1016F SSDC 732F Stadium Savers 129F Stadium Seating Enterprises 816F THEATREWORLD Pub Bin Star Screen 2217 State Fair Mini Donuts 332 STX Entertainment 125 Taste Of Nature 920 Taylor Company 617F Telescopic Seating Systems 2805A Tempo 525F Theatrical Bulb Supply 928F TicketNew POS 931 Tivoli LLC 306F TK Architects 412 Tootsie Roll Industries 914F TouchMate 2604 Tremor FX 2024A Ultra Stereo Labs 2707 Uncle John's Burger Dog 117F US Bowling Corporation 2124A Ushio America 2524A Vantiv 313 Variety The Children's Charity of the United States 137F Veezi 521F Ventura Foods 536F Verifone 2019 VIP Cinema Seating 901F Vista Entertainment Solutions 425F Vistar 613F Vivian Company 1019F Volfoni 3D 1033F Waste Harmonics 2813A Weaver Popcorn 1015F Weldon Williams & Lick 116F Wesnic Inc. 106F White Castle Food Products 100F XPAND 3D 2512 Yumex Inc. 2725A Yuyu Lighting 2219A Zone Laser Tag 331


EVENT CALENDER PREVIEW

2015 20-23 APRIL CAESARS PALACE, LAS VEGAS, USA www.cinemacon.com

9-11 MAY CHINA THEATER & CINEMA GUANGZHOU, CHINA www.gtcff.com

22-25 JUNE CINEEUROPE BARCELONA, SPAIN www.cineeurope.net

24-26 JULY CINEMA TODAY, CHENNAI, INDIA www.cinematoday.in

22-25 SEPTEMBER

9 - 11 May 2015 China Import and Export Fair Pazhou Complex, Guangzhou, China The 6th Guangzhou International Theater & Cinema Technology Facilities Fair 2015 (China Theater & Cinema 2015) aims to construct a premium communication and trading platform for the cinema market. The event is organized by Guangzhou Grandeur Exhibition Services Co, Ltd and will be staged at China Import and Export Fair Pazhou Complex, Guangzhou from 9 to 11 May 2015. China Theater & Cinema 2015 has attracted international buyers from 40 different countries. Most of them focus on stage, seating, lighting equipment, 4D/5D dynamic cinema, digital cinema equipment, professional audio equipment, stereoscopic film equipment, and so forth.

It is the golden age of cinema market in recent years in China. The number of new cinemas is increasing year after year. At the end of 2010, there were 313 new theaters in total, while the new screens increased to 1533 at an average rate of 4.2 every day. Given this backdrop, China Theater & Cinema 2015 is an event with immense potential! The scope of the exhibition includes the following: •

Cinema Playing Equipment

Theater & Cinema Furniture and Decoration Materials

Cinema services

Theater & Cinema Lighting and Sound Equipment

Film Production and Shooting

KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru

11-15 OCTOBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au

12-15 OCTOBER SHOWEAST, FLORIDA, USA www.showeast.com

8-10 DECEMBER CINEASIA, HONG KONG www.cineasia.com

2016 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com

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REVIEW

FICCI FRAMES 2015 25-27 March 2015 Hotel Renaissance, Mumbai

Spearheading the growth of India to become a global superpower in the entertainment sector, FICCI Frames 2015, a three-day global convention was held from 25-27 March 2015 at Hotel Renaissance in Mumbai. This unparalleled platform for exchange of ideas and knowledge witnessed nearly 3000 Indian and 800 foreign delegates encompassing the entire media spectrum of operations and the entertainment industry. The event also attracted active participation from delegates of both national and international companies with interesting seminars and sessions held by who's who of the industry whose opinions make a world of difference to the industry we operate in. The interesting sessions with keynote presentations from speakers and panel discussions highlighted key issues and challenges faced by the entertainment sector today. Galloping against time, the

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entertainment industry now has to catch up with the technological advancements and meet the increasing needs of the internetfriendly user community, who are now counting positive hopes on "Digital India". Listed below are some key sessions that drew huge visitors to the venue. They include - students, VFX specialists, editors, distributors, film and entertainment journalists and budding entrepreneurs keenly on look out to tap potential business opportunities at this 16th annual global convention. •

Frames keynote: Relativity CEO Ryan Kavanaugh on "Make in

India: A Revolutionary New Model for Hollywood & Bollywood" •

Making India the entertainment superpower: Innovating for a digital entertainment ecosystem

The Winners and the Players: Strategies for GECs to capture audiences

Indian Cinema: Recovering from 2014 - wakeup call for the film industry?

Unleashing the power of Film Tourism

Rising Ascendancy of the Asian


Redefining Traditional Paradigms: digital media and the print sector

A Sneak Peek into the happenings!

Regional Exhibition •

Phenomenon and India's Special Role

International Distribution: processes and emerging markets

Sports: Are we on the last mile to the big league?

Young Stars and New Wave Cinema: Is Hindi cinema finally breaking out of the classic mould?

The Digital Entrepreneur

Regulatory challenges towards enabling 'Digital India'

Session with Public Broadcasters

Launch of FICCI Women in Media Forum

sessions and panel discussions on some key topics such as - how disruptive technologies are increasingly influencing our personal space and preferences on the kind of cinema viewing;how to develop a sustainable revenue model by cashing on the digital native;brand building in the digital world and presented techniques to boost digital engagement in a socially interactive world. Key highlights of this digital forum at FICCI Frames 2015 included: •

Transmedia Masterclass by John Heinsen, VP, New Media, Producers Guild of America on "Transmedia for strategies on brand building, content development, production & distribution"

Digital Disruption: Trends, Analysis, Insight & Projections

Raghav Bahl talks at length on digital entrepreneurship

Clash of the Video Walled Gardens: OTT & Video Apps versus Cable & Satellite

What was new at FICCI Frames 2015? FICCI Frames 2015embraced the digital transformation in media and entertainment sector in a big way by presenting interesting

A panel discussion on challenges to international distribution of Indian films presented ideas on reaching key content markets and the need to streamline processes for content distribution, buying, selling and coproductions. The panel was moderated by Ben Rekhy from Sikhya Entertainment.

Unleashing the Power of Film Tourism: The Indian motion picture and television industry has been recognised as one the top 25 priority sectors by the Government of India to foster innovation, investment and growth. In 2013, the total (direct and indirect) contribution of film and television industry to support the country's economy was estimated at Rs 50,000 crores. As globally, production and tax incentives have made a positive impact on the state and national economies by creating a revenue stream, new jobs and supporting allied businesses. This session addressed the one key question - Is India poised to take the next leap and establish a film incentive regime? The session began with a keynote address by Mike Ellis, President, Motion Picture Association of India and concluded on a pleasant note on the need for "creating

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single window clearances for the Association to avail of the tax incentives." •

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India Cinema 2014: A Wake up Call for the Film Industry? While 2014 was probably one of the worst years witnessed by the Indian Cinema with poor box office collections, the economics have adversely affected the demand for satellite rights by broadcasters. This session raised some key questions by recognising India as a talent hub and impact of conscious industry moves towards producing bigger and larger movies. Do you see the quality declining? Are studios misreading audience tastes with budgets going out of control? The session deliberated on the road map to recovery with key stakeholders from the Indian cinema. "RoI is the only guru mantra, there is too much of money riding and too little a profit with the 100crore box office collections as the new benchmark to rating the success of a movie and also the new concept of stars forming a part of the 100crore club, so on and so forth. You can never plan a hit but definitely minimize on the losses." Technology trends that define the future of movie production, both pre and post, threw light on how technology has disrupted the way things work with global workflows that are happening via collaboration, outsourcing and vertical integration. Marcus Schioler, Senior Manager - M&E Industry Strategy, Autodesk spoke about the new trends and technologies that are available from Autodesk to meet changes in consumer demand.

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Launch of FICCI Women in Media Forum: This networking session in joint collaboration with the UN began with remarks by Jagi Mangat Panda, Managing Director, Ortel Communication and was followed by keynote address from Barkha Dutt, Consulting Editor, NDTV, who shared her personal experiences of being associated with media and journalism for more than 20 years in her career. She also emphasized on some strong points for women in media, who are facing inequality in wages and industry working based on gender bias, wherein women are most often just paid 1/10th of the salary paid to a man.

Last but not the least, one of the sessions titled, "Rising Ascendancy of the Asian Regional Exhibition Phenomenon" spoke about ways to

ensure growth of the cinema sector by increasing the number of screens in the country - both multiplexes and single screens. However, challenges within a federal government set up with a maze of infrastructure and tax issues, pose impediments to India to emerge as a serious global player in the exhibition space. Mike Ellis, President, Motion Picture Association of India and Javier Sotomayor, Managing Director, Cinepolis India spoke about recent acquisitions by Cinepolis and plans to grow in the country with multiplexes and mall culture supporting this endeavour to bring in more footfalls, and also affordable ticket pricing at certain times of the day and over the weekend play a critical role towards growth of the exhibition space.

Raghav and Clancy from TheatreWorld at the Expo


F U T U R E

R E L E A S E S

A glimpse of movies coming soon‌ Furious 7

Ex Machina Production Universal Pictures

Production A24

Director James Wan

Director Alex Garland

Starring Paul Walker, Jason Statham

Starring Oscar Isaac, Alicia Vikander

Genre Action

Genre Thriller, Sci-Fi

Superfast

Kill Me Three Times Production Ketchup Entertain.

Production Magnet Releasing

Director Aaron Seltzer

Director Kriv Stenders

Starring Alex Ashbaugh, Dale Pavinski

Starring Simon Pegg, Teresa Palmer

Genre Comedy, Action

Genre Thriller, Crime

The Longest Ride

Desert Dancer

Production 20th Century Fox

Production Relativity Media

Director George Tillman Jr.

Director Richard Raymond

Starring Alan Alda, Jack Huston

Starring Nazanin Boniadi, Makram J. Khoury

Genre Drama, Romance

Genre Drama

March-April 2015

TW-55


F U T U R E Child 44

The Age of Adaline Production Summit Entertain.

Production Lionsgate

Director Daniel Espinosa

Director Lee Toland Krieger

Starring Gary Oldman, Tom Hardy

Starring Harrison Ford, Blake Lively

Genre Drama, Suspense

Genre Drama, Romance

Paul Blart: Mall Cop 2

Production Open Road Films

Director Andy Fickman

Director Alejandro Gomez

Starring Kevin James, Neal McDonough

Starring Jakob Salvati, Ted Levine

Genre Comedy

Genre Drama, Comedy

Avengers: Age of Ultron

Production Disneynature

Production Walt Disney

Director Mark Linfield, Alastair Fothergill

Director Joss Whedon

Starring Suraj Sharma

Starring Chris Evans, Samuel L. Jackson

Genre Documentary

Genre Action, Sci-Fi,

Unfriended

Welcome to Me Production Universal Pictures

Production Alchemy

Director Levan Gabriadze

Director Shira Piven

Starring Courtney Halverson, Jacob Wysocki

Starring Linda Cardellini, James Marsden

Genre Thriller, Horror

March-April 2015

Little Boy

Production Columbia Pictures

Monkey Kingdom

TW-56

R E L E A S E S

Genre Drama, Comedy


F U T U R E Far From the Madding Crowd

R E L E A S E S Mad Max: Fury Road

Production Fox Searchlight

Production Warner Bros.

Director Thomas Vinterberg

Director George Miller

Starring Michael Sheen, Juno Temple

Starring Charlize Theron, Megan Gale

Genre Drama

Genre Action, Sci-Fi,

Pitch Perfect 2

Cas & Dylan Production eOne Films

Production Universal Pictures

Director Jason Priestley

Director Elizabeth Banks

Starring Richard Dreyfuss, Tatiana Maslany

Starring Brittany Snow, Anna Kendrick

Genre Drama

Genre Comedy, Musical

5 Flights Up

Poltergeist Production Focus Features

Production 20th Century Fox,

Director Richard Loncraine

Director Gil Kenan

Starring Morgan Freeman, Diane Keaton

Starring Sam Rockwell, Jared Harris

Genre Comedy

Genre Drama, Thriller

The Vatican Tapes

Hot Pursuit Production New Line Cinema

Production Lionsgate

Director Anne Fletcher

Director Mark Neveldine|

Starring John Carroll Lynch, Reese Witherspoon

Starring Dougray Scott, Djimon Hounsou

Genre Comedy, Action

Genre Thriller, Horror

March-April 2015

TW-57


F U T U R E Tomorrowland

Gabbar Is Back Production Walt Disney

Production Viacom 18 Motion

Director Brad Bird

Director Krish

Starring George Clooney, Judy Greer

Starring Akshay Kumar, Shruti Haasan

Genre Adventure

Genre Crime, Action

San Andreas

Piku Production New Line Cinema

Production MSM Motion

Director Brad Peyton

Director Shoojit Sircar

Starring Carla Gugino, Kylie Minogue

Starring Amitabh Bachchan, Deepika Padukone

Genre Thriller, Action

Genre Comedy

Dharam Sankat Mein

March-April 2015

Bombay Velvet

Production Trigno Media

Production Fox Star Studios

Director Fuwad Khan

Director Anurag Kashyap

Starring Naseeruddin Shah, Paresh Rawal

Starring Ranbir Kapoor, Anushka Sharma

Genre Drama

Genre Drama

Ek Paheli Leela

TW-58

R E L E A S E S

Uttama Villain Production T-Series

Production Raaj Kamal Films

Director Bobby Khan

Director Ramesh Aravind

Starring Sunny Leone, Jay Bhanushali

Starring Kamal Haasan, Urvashi

Genre Musical, Thriller

Genre Comedy, Drama


TheatreWorld ::: March-April 2015  
TheatreWorld ::: March-April 2015  

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

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