150 (US$ 15)
MINDSHARE THEATREWORLD EDITORIAL
Can food and beverages (F&B) actually enrich the movie-going experience of the audience, or is it just another offering at cinemas? Personally, I quite look forward to munching popcorn and slurping soft drinks while watching the film or relishing the whiff of nachos waiting at the lobby. For me it’s a part of the overall entertainment experience of going to cinemas! As popcorn and coke are the highest consumed F&B at cinemas world over, in this issue of TheatreWorld, we bring you an insight of Coca-Cola’s marketing strategies in tackling the challenges of delivering memorable experiences in the ever-competitive world. Talking of technology, Lasers and Immersive formats are making waves in the cinema exhibition business. From sound and visual to seating arrangements, everything is getting immersive. And the very latest to join the immersive bandwagon is suspended immersive theatre. Wow, what a mind-blowing experience that would be! Imax launches its laser projection system at the iconic Empire Leicester Square, UK. The Empire Leicester Square will be the first Imax cinema in Europe to launch the new technology. Moving to Latin America, Barco installs its Escape Immersive Movie Format at Cinépolis, which happens to be the first Barco Escape in this region. Yet another big acquisition happened! Interestingly, we had featured the first Dolby Cinema at JT Bioscopen in one of our previous issues. And the latest we come to know is, it has been acquired by Europe’s largest cinema chain Vue International. With this acquisition, Vue spans across 10 countries with 209 sites and 1,859 screens. World over, the cinema exhibition community and movie enthusiasts are waiting for the two biggest films of the season Matt Damon’s The Martian and James Bond’s Spectre. The worldwide release of these two movies is expected to create sensation at the box-office, nationally and internationally. The second largest cinema chain in India, Inox hits a century! With the launch of three properties, INOX reached a landmark milestone of 100 cinemas. Having its presence in 54 cities with 100 properties and 389 screens, Inox is way ahead of other chains. Mukta A2 Cinemas goes international with its latest venture in Middle East (Bahrain), which is slated to open next year. After Reliance’s BigCinemas, this is the second cinema chain from India making its presence overseas. Baahubali emerged as the clear winner at the Indian box-office. Originally made in Telugu, the film crossed all regional barriers to become a national favourite so much so that it’s difficult to find a movie buff who’s not watched the film as yet. In this issue, we bring you a special feature on Baahubali, its making and the business of the film.
Issue # 71 September-October 2015
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Sandeep Mittal Founder Editor Publisher
Authors & Writers Asra Shaheen Heti Dave Michael Karagosian Savita V Jayaram Tom Coughlin
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Another edition of Australian International Movie Convention (QueenslandAustralia), ShowEast (Florida-USA) and ExpoCine (São Paulo-Brazil) is about to begin and TheatreWorld is the official media partner across these conventions and expos. This year TheatreWorld also partners with Indywood Film Market, which is South Asia’s biggest, premier trade market and film festival for cinema professionals, held at Kochi, India (Catch up with all the show previews inside the current issue).
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After a close watch on cinema tradeshows and expo scenario in India, TheatreWorld is coming soon with its own brand new show ‘BigCineExpo’ to be held at Chennai Trade Centre on 23 & 24 of August 2016. Unlike many tradeshows and expos, BigCineExpo is purely focused on the cinema exhibition community. Although India produces the largest number of films in the world every year, the cinema business doesn’t reflect this upside. According to KPMG Report 2015, there are just 7 screens per million people in India, when compared to the US, where there are 125 screens per million people. Most stakeholders in cinema exhibition business are unaware of the new technologies and business possibilities. BigCineExpo is poised to be an affordable platform, offering the exhibitors and visitors all of that and much more.
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.
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This issue of TW has two sets of page numbers - International pages TW-1 to TW-56 for TW, and India pages TM-1 to TM-24 for TM. TM is inserted between pages TW-50 and TW-51 of TW.
SPECIAL STORY TW-26 Corinne Thibaut On Cinema, Leisure & Coca-Cola...
Storage Options for Digital Cinema TW-34 Michael's Green Paper
World's Oldest Cinemaâ€™s Seating Refurbished
A Grandiose Multiplex TW-42
Switzerland's Largest Screen
I N S TA L L S
TW-44 Washing 3D Glasses Made Easy!
TRADESHOWS TW-45 Review -
TW-46 Review -
TW-48 Preview -
TW-49 Preview -
U T U R E
R E L E A S E S
Behind the Mighty
INDIA PLEXING TM-19
Renovated AriesPlex SL Cinemas
Splendid Cinematic Experience TM-21
Mukta A2 Opens
3-Screen Multiplex in Kundli
TM-16 INDIA PLEXING
Abirami Mega Mall
A Spectacular Cinema Destination
Cinemark to Add Luxury Lounger Recliners to Tinseltown Theatre in Fayetteville, GA Cinemark Holdings, Inc, one of the world's leading motion picture exhibitors, announced plans to renovate their Tinseltown theatre through the addition of Luxury Lounger recliners to all 17 auditoriums. In addition, the multiplex will expand their food and beverage operations, featuring craft beers, wine and frozen cocktails. The renovations at the theatre, located at 134 Pavilion Parkway in Fayetteville, will begin this fall and be completed by the end of 2015. "For over 17 years our Tinseltown branded theatre in Fayetteville has provided quality moviegoing experiences to our customers," commented Mark Zoradi, Cinemark's Chief Executive Officer. "This remodel will enable Cinemark to continue to offer our guests the highest levels of comfort and technology. Our new Luxury Lounger recliners will be an excellent addition to this popular theatre and will offer customers an enhanced entertainment experience." Cinemark takes pride in creating the best entertainment experience in the industry. In order to make moviegoing as easy and enjoyable as possible, Cinemark focuses on offering more choices to their customers. Guests can download the Cinemark app to view show times and purchase tickets on-the-go. Customers can also utilise CineMode,
a feature within the Cinemark app, to earn rewards for being courteous to others during movies. Cinemark fans are invited to stay connected through Cinemark's social media channels: Facebook, Twitter, 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.
Cinemark Selects Christie Vive Audio to Power its Auditoriums Christie, a world leader in advanced cinema technologies and visual displays announced that Cinemark Theatres (NYSE: CNK), one of the world's largest motion picture exhibitors, has selected Christie Vive Audio to power its NextGen enhanced sound system auditoriums at the Cinemark Roanoke in Roanoke, Texas, which opened August 13. The new 14-screen theatre features Cinemark's NextGen cinema design concept, a highlight of which are Luxury Lounger recliners, a Cinemark XD auditorium and expanded dining options that will include beer, wine and frozen cocktails. It is the third Cinemark location to select Christie Vive for its leading-edge immersive line array speaker technology, with Cinemark StarCreek 16 and XD in Allen, Texas, and Century Huntington Beach and XD in Huntington Beach, California, already onboard. Cinemark will continue its roll-out of Christie Vive to its upcoming Cinemark Century Point Ruston 8 in Tacoma, Washington.
"Cinemark is committed to providing our customers with the latest advancements in cinema sight and sound, and our choice of Christie Vive to power our enhanced sound solutions in most of our auditoriums in Roanoke is further demonstration of our dedication to exceeding our customers' entertainment expectations," said Damian Wardle, Cinemark's Senior Vice President, Theatre Technology & Presentation. "Christie speaker technology also enhances the 3-layer multi-channel sound system in our XD auditoriums and over 60 speakers deliver an immersive audio experience. Having the ability to play movies in Auro or Atmos enables us to tailor our audio footprint design. Cinemark's guests don't simply watch a movie, they live the experience." "Cinema sound is the next revolution in theatres, giving exhibitors the competitive advantage in a world where digital projection technology is already the standard," said Patrick Artiaga, director of business development, audio solutions, Christie. "Since its launch just two years ago, Christie Vive continues to gain momentum in the landscape of new-builds for immersive cinema sound solutions. Cinemark's selection of Christie Vive reflects their unrelenting drive to set a new standard in state-of-the-art sound technology." Christie Vive Audio is a groundbreaking audio playback system that
unlocks the full potential of the DCI digital cinema audio format and supports leading formats such as Auro 11.1, Dolby Atmos, 7.1 and 5.1 surround sound. The complete solution features screen channels, wall, and ceiling surround speakers that use unique ribbon driver technology in a single-enclosure line array design, purpose-built for cinema environments. Recognized for their exceptional timbre matching, enhanced voice intelligibility, and low distortion, the Christie Vive Audio system continues to establish its reputation worldwide as the next standard in immersive sound for cinema. The complete product offering also includes subwoofers and Class D amplifiers.
IMAX Launches New Laser System at Iconic Empire Leicester Square
IMAX Corporation confirmed the launch of its new laser projection system at one of its flagship cinemas, The Empire Leicester Square, UK on October 2 with The Walk: An IMAX 3D Experience. The Empire Leicester Square will be the first IMAX cinema in Europe to launch the new technology. IMAX with laser represents a quantum leap forward in cinema technology - providing audiences with the sharpest, brightest, clearest and most vivid digital images ever, combined with a whole new level of immersive audio. Designed from the ground up for IMAX's largest screens, the dual 4K laser projection system is equipped with a new optical engine and suite of proprietary IMAX
technologies capable of projecting an image with maximum resolution and sharpness, unparalleled 2D and 3D brightness, industry-leading contrast and an expanded colour gamut that will allow filmmakers to present more vivid and exotic colours than ever before. The new system also includes IMAX's next-generation sound technology that delivers even greater power and precision for ultimate audio immersion. It has been upgraded to 12 discrete channels plus sub-bass, and includes additional side channels as well as new overhead channels that will improve the system's ability to position sounds around the audience and further ensure every seat is the best in the house. The historic Empire Leicester Square opened its IMAX screen in June 2014; the previous 'Screen 1' was completely transformed for The IMAX Experience, which will now host Europe's first ever IMAX with laser technology and an incredible projected screen image spanning 87-foot (26.5m) wall-to-wall and floor-to-ceiling - one of the biggest in the UK. Andrew Cripps, President of IMAX EMEA, said: "We are raising the benchmark once again with the launch of IMAX with laser at Empire Leicester Square - providing film fans in the West End a cinemagoing experience unlike anything they've ever seen or heard before. We couldn't be more excited to mark the European debut of this new laser technology at such an iconic venue particularly with the strong upcoming slate of films like, The Walk, Crimson Peak, SPECTRE and Star Wars: The Force Awakens, that demand to be seen in this new format." Justin Ribbons, CEO of Empire Cinemas, said: "We're delighted to bring laser technology to our flagship cinema & IMAX screen in the heart of London at The Empire Leicester Square. From the earliest days of the moving image The Empire Leicester Square has been at the forefront of advances in cinema technology. The introduction of
IMAX with laser further reinforces our commitment to providing the most cutting edge, immersive viewing experience to our customers who will be the first in Europe to experience this new technology. It reinforces The Empire Leicester Square's position as the home of the UK's best cinemagoing experience for years to come." Laser technology cinemagoers will be awe-inspired by the epic scope of The Walk (Joseph Gordon-Levitt, Ben Kingsley), Crimson Peak (Tom Hiddleston, Mia Wasikowska, Jessica Chastain) SPECTRE (Daniel Craig, Christoph Waltz) and Star Wars: The Force Awakens (Harrison Ford, Mark Hamill).
Leading Chinese Exhibitor Signed Agreements for 26 IMAX Theatres in Past Year IMAX Corporation announced an agreement with Shanghai Film Corporation (SFC) and its subsidiary, Shanghai United Circuit Co. Ltd. (SUC), for five additional IMAX theatres in China. Four of the theatres will be located in existing multiplexes in Hangzhou, Qingdao, Shenzhen and Chengdu, with another to be added to a new development in Changzhou. Over the past year, the parties have signed agreements for 26 theatres. The announcement brings to 30 the exhibitor's total IMAX commitment, of which 16 are currently in operation. SFC is the Company's third-largest partner in China and fifth-largest partner worldwide. Shanghai Film Corporation is China's largest state-owned enterprise in the exhibition industry, with the leading exhibition market share in the country. Shanghai Film Group, SFC's parent company, and SUC opened their first IMAX theatre in 2004, which was the first commercial IMAX theatre in China. "We are dedicated to delivering premium entertainment experiences
and our commitment to IMAX is an extension of this strategy, which strengthens our business and delights our guests," said Zhang Feng, General Manager of SFC. "With the most immersive cinematic platform available, coupled with the best in Hollywood and Chinese-language content, we look forward to offering more of our patrons a movie-going experience unlike anything they've had before." "Moviegoers in China continue to embrace IMAX as the best way to experience blockbuster films, as our experience this year has shown, with Furious 7, which is now the highestgrossing IMAX title in China of all time as well as the recently released Monster Hunt, which is the highestgrossing Chinese IMAX title to date," said IMAX CEO, Richard L. Gelfond. "We've worked hard to build a business model in China that creates win/win scenarios for IMAX and our partners. SFC's commitment to 26 IMAX theatres in a year is a testament to the success of this model."
Volfoni Files Patent Lawsuit Over Volfoni Triple Beam System Intellectual Property Rights Worldwide leader in 3D technology Volfoni filed patent lawsuit in the Shandong Dongying intermediate people's court against Shenzhen Timewaying Technology Co., Ltd for producing and selling their three beam 3D product. The lawsuit contend that Timewaying are infringing on Volfoni's Triple Beam System intellectual property rights with their respective products. The case is filed and under investigation. "Shenzhen Timewaying Technology Co., Ltd manufactures and sells the products suspected of infringing Volfoni R&D's intellectual property rights without. We require Shenzhen Timewaying Technology Co., Ltd to
stop the infringement act and pay the damage caused to Volfoni." Represented lawyer of Volfoni R&D says. "Since its founding, Volfoni is dedicated to innovation and patent protection. Volfoni owns many original invention patents. It's the solid foundation of the company. Volfoni's Triple Beams 3D solution is a groundbreaking innovation and a milestone for the whole 3D industry. It has gained international recognition from customers and peers as show the many awards received from the International 3D & Advanced Imaging Society of Hollywood to Korea's 3DKIFF." said Thierry Henkinet, CEO of Volfoni. Volfoni's Triple Beam technology 3D product patent has been authorised on 9th July 2014 in China. The priority date is 29th May 2013. It's under protection by law. This technology has been considered as one of the most innovative and useful solution for 3D cinema. Light efficiency is close to 30%, twice the efficiency of the first generation passive 3D equipment. The colour rendition is extremely good as well as the 3D effect. It has earned highly reputation from many cinema users around the world. For any patent infringement issue of its competitors, Volfoni will stand firmly to take legal measures to protect the benefice of its company and brand.
Solaria CP2208 Digital Cinema Projector Meets Exhibitors' Need for Compact, DCICompliant Solution Christie launched a high-value digital cinema offering, the Christie CP2208, aimed at theatres whose screen sizes are less than 10.6 meters (35 feet) wide and that require an affordable solution in a compact footprint. The latest in a long line of
award-winning Xenon-lamp based Christie Solaria projector solutions, the CP2208 was unveiled at the Beijing International Radio, TV & Film Exhibition (BIRTV) at the China International Exhibition Center in Beijing. Shipments of the units, to be available worldwide, are scheduled to begin in October 2015. "Xenon illumination provides superior colour reproduction, brightness that is double that of similarly-sized, mercury-lamp based projectors and overall better performance," said Allan Fernandes, product manager, Christie Cinema Products. "The CP2208 can be ordered with a variety of lamp sizes and lenses, and gives customers the choice of adding an integrated media block - either the Christie IMB-S2 with its tightly-integrated Screen Management System (SMS) and high-performance storage - or other, popular Series-2 IMB system. While able to support various alternative content sources through dual HDMI ports via DVI connectors, the solution is DCI-compliant, based on Texas Instruments' (TI) (NASDAQ: TXN) 3-chip, 0.69-inch S2K DLP Cinema chipset. The CP2208 will deliver fully DCI-compliant images at 9,000 lumens within the DCI colour space and up to 10,000 lumens when presenting alternative content. "Faced with 'going dark,' as secondrun film prints become increasingly difficult to obtain, the CP2208 will be a welcomed, bundled solution to exhibitors who need to provide digital content to satisfy a pricesensitive customer base, without incurring a large capital investment," added Fernandes.
Sky Cinemas Kuwait Signs Agreement with Barco Barco, a global industry leader in digital cinema technology, has further strengthened its position in the Middle East. Sky Cinemas Kuwait have made a commitment to Barco partner CineTech to exclusively install Barco projectors, including laser projection for future sites. Sky currently has three screens installed in the capital Kuwait City, with five new screens planned by mid-2016. The cinema group also has expansion plans in Kuwait and the wider region. Sky Cinemas Kuwait is part of a large real-estate group that’s also based in Kuwait. The relatively new chain of cinemas has aimed high from the start: last July, three new screens were inaugurated in Kuwait City, featuring two DP2K-10s and one DP2K-20C Barco projector. The cinema group is relying on Barco Gold Partner CineTech Middle East JLT to make this expansion story a success. CineTech is a leading cinema and multi-function auditorium solutions provider for the Middle East and Africa regions. “CineTech has already installed Barco technology in numerous other chains,” CineTech spokesperson Peter Khamas said. “Time and again, both our clients and cinema visitors are stunned by the immersive cinema experience that Barco digital cinema offers them. Barco’s industry-leading position in laser projection, the future of cinema, was the deciding factor for Sky Cinemas to make an exclusive choice for Barco projectors.” Fahad Al-Saleh, owner and spokesperson for Sky, said he is confident that the partnership will prove to be a winning ticket: “With the experienced support of CineTech Middle East JL and the state-of-the-art technology of Barco, I’m convinced that we are going to make the moviegoers an offer they can’t refuse. Now and in many years to come.”
dcinex/Ymagis Installs First Sony SRX-R515DS Dual 4K Projection Solution in Germany dcinex/Ymagis Group, the European specialist in digital technologies for the motion picture industry, has supplied the first Sony SRX-R515DS dual 4K projection system in Germany to Cinecitta’ Multiplexkino in Nuremberg. Just a few weeks after its installation, a second SRX-R515DS system has recently been installed, with Cinecitta’ confirming an additional order for a further five systems for its Multiplexkino, to be installed before the end of the year. Germany’s biggest cinema complex, Cinecitta’ Multiplexkino boasts no less than 23 screens – all underground – together with 5000m2. of foyer space, three restaurants and bar/café areas. The first of the two SRX-R515DS ordered has been installed at one of Cinecitta’s 120-seat ‘Deluxe’ premium auditoriums. The system’s extra high brightness levels ensure stunning 4K images on the 12.5-m screen. The dual projection system also ensures that 3D presentations are spectacularly smooth and easy on the eye, compared with conventional ‘triple flash’ 3D solutions using a single projector. Complemented by immersive Dolby Atmos sound, it all adds up to an unforgettable ‘VIP’ experience for patrons as they enjoy the show in cosseted luxury, with extra-large reclining seats and an atseat refreshments service. Cinecitta’ has consistently led the way in championing new technologies, since installing one of Germany’s very first digital cinema projectors as long ago as 2005. With the SRX-R515DS, the trail-blazing independent operator has been able to achieve significant improvements in picture quality, colour and contrast ratio over its previous generation 2K projectors.
Unique Digital Completes Worldwide Delivery of UN’s Global Goals Unique Digital Production has completed the worldwide delivery of the first ever global cinema ad on behalf of SAWA the Global Cinema Advertising Association promoting United Nations’ Global Goals initiative. The first ever global cinema ad is a 60 second ad titled #WEHAVEAPLAN and is animated by Aardman, directed by Sir John Hegarty and narrated by Liam Neeson and Michelle Rodriguez with music from Peter Gabriel. The advert is mixed in Dolby 5.1 and Dolby Atmos immersive sound technology, being mastered and distributed globally in all cinema formats by Unique Digital. Cheryl Wannell - General Manager of SAWA said: “The Global Goals aim is to make these goals FAMOUS and what better place to do that than on the big screen. Cinema educates, inspires and influences people by changing hearts and minds. SAWA, facilitating through our Cinema Advertising Global network, are able to screen the First Ever Global Cinema Ad to promote the Global Goals in over 30 countries. When we approached Unique Digital to help us, we had no real idea of the size of the task we were asking them to undertake. Unique Digital have been superb, delivering all that was asked of them – and a little bit more that was asked for on the way” ”The delivery matrix required to ensure the correct delivery of all languages, audio mixes, subtitles, aspect ratios, file formats and local naming conventions and requirements was staggering. Unique Digital is proud to have completed the ‘on time’ delivery of the world’s first global cinema advert. The challenges overcome and experience gained from the project places Unique Digital Production at the forefront of Cinema Advertising DCP production and delivery.
Wanda Cinema Line & Christie Sign Strategic Partnership in China Christie, a global leader in digital cinema projection, announced that Wanda Cinema Line, a subsidiary of Wanda Group and the world's largest cinema operator with 195 theatres and 1,732 movie screens in China as of July 2015, will install upwards of 1,500 Christie Solaria Series 2K and 4K digital cinema projectors, as well as the Christie Vive Audio solution in selected theatres, over three years. Christie will establish 13 parts-andservice centres in China to meet the resulting needs for servicing and maintenance of this massive rollout. Both parties will also continue to strengthen cooperation in training of their technical teams. Upon successful installation of the equipment, Wanda Cinema Line will have more than 3,500 Christie digital cinema projectors in use. Wanda Cinema Line in China accounted for 14.2 per cent of box office share nationwide in 2014. Increasing screens annually from 2014 onwards, Wanda Cinema is on track to lead in cinema market share in China with 2,300 screens in 260 theatres in 2016. Maojun Zeng, Vice President of Wanda Culture Group and CEO of Wanda Cinema Line, said, "It has been a pleasure working with Christie to date and we look forward to strengthening our collaboration with this industry pioneer and ongoing visual solutions technology leader. Together, we will provide high-quality, innovative shared experiences for Wanda's customers." Lin Yu, Vice President, Christie Asia Pacific, echoed these sentiments. "This agreement is the result of the deep and mutually-satisfying
relationship that the two companies embarked on in 2009, and which has seen fruitful engagements ever since. We are honoured to be again selected by Wanda Cinema Line to be a key part of its digital cinema expansion in China." "Christie offers a wide range of projectors, including our top-of-theline laser projectors, ensuring that the specific requirements of every venue in Wanda Cinema Line's base are met with the right visual and audio solutions. On behalf of the Christie team of dedicated technical professionals, we look forward to continuing to put Wanda Cinema Line at the forefront of the film industry, in China and worldwide," Yu added. Both parties will continue to promote the technology, branding and market development of Wanda's "Hall 9" auditoriums, which gained momentum in 2014 when the first Christie Vive Audio cinema sound system in China was installed in Wanda Cinema Line's state-of-the-art Hall 9 auditorium at Beijing CBD Wanda Plaza located in downtown Beijing. The installation comprises more than 50 Christie Vive Audio speakers of varying combinations, including LA3 screen channel speakers, S215 subwoofers (for full range frequency response), S218 for Low Frequency Effects (subwoofers) channels, LA3S and LA5S for wall surround, as well as LA3C and LA5C for ceiling surrounds. More Hall 9 Vive installations are planned.
or its DCI compliant Christie CP42LH 6P laser projector. The CP42LH provides up to 60,000 lumen brightness, 4K resolution and on up to the Rec. 2020 colour space for the best colour reproduction in the industry, ensuring that Christie's RGB laser systems sets new standards for incredible brightness, wider colour gamut and astounding contrast, to benefit Wanda Cinema Line's customers.
Barco & Cinema 21 Group (Indonesia) Pilot Flagship Laser Projection in APAC region Barco, a global leader in digital cinema technology, announced the installation of the first Flagship Laser projector in the APAC region. Cinema 21 Group, a long-term partner of Barco in Indonesia, has equipped its auditorium with Barco's ultra-bright 6P Flagship Laser cinema projector for large screens (DP4K60L). The goal is to get a proper understanding of the projector's operation in preparation of a more extensive rollout across the group's halls and theatres. Cinema 21 Group operates more than 800 screens in 33 cities across the Indonesian archipelago and is one of the fastest-growing exhibition and
More of Wanda's Hall 9 auditoriums will feature Christie 4K digital cinema projectors, which produce brilliant, high resolution visuals, using either Christie's Xenon-lamp based models
distribution giants in the APAC region. Always eager to be one step ahead of the competition, the group was looking into laser projection as way to drive business in the region. During the CinemaCon trade fair in Las Vegas (US), the Cinema 21 Group delegation discovered Barco's DP4K60L; a top-of-the-line Flagship Laser cinema projector that brings brilliant brightness levels and cutting-edge image quality to large screens. Combining exceptional image quality with simplified operations and reduced operating expenses, the group quickly realised the potential of this innovative technology. On top of that, Barco and Cinema 21 Group were no strangers to each other: the Indonesian group has already deployed more than 600 Barco digital cinema projectors across the country, as well as media servers and image processing products. "Barco's consistent quality and innovative spirit have persuaded us to pilot Barco's Flagship Laser projection in the APAC region," comments Suryo Suherman, president at Cinema 21 Group. "Furthermore, now that we are expanding rapidly nation-wide, we are confident that this technology has the potential to further drive our business."
Cinépolis First to Bring Barco Escape Immersive Movie Format to Latin America Digital cinema market share leader Barco, and Cinépolis, one of the world's largest exhibitors, announce the installation of Latin America's first Barco Escape theatre at Cinépolis' Paseo Acoxpa Mexico City location. 20th Century Fox's Maze Runner 2: The Scorch Trials will be the first film released in Latin America in Barco's multi-screen, fully immersive movie format when it premieres on September 11, 2015.
Barco Escape debuted to audiences in the United States and Europe in fall 2014 with the hit film The Maze Runner, earning rave reviews from guests and critics. Audiences that experience Maze Runner: Scorch Trials in Barco Escape can expect to see more than twice as much content across all three screens as the first instalment. This chapter's best adrenaline moments are transformed from a single screen into an ultrawide, fully immersive experience that brings the entire theatre to life. "At Cinepolis, we are always looking to bring state-of-the-art entertainment offerings to our customers," says Gabriel Morales Becker, Digital Cinema Strategy Director for Cinépolis. "When I saw Barco Escape, I identified it as a cutting edge immersive experience and I knew we had to bring it to our audiences. We are very excited about opening our first Barco Escape at Paseo Acoxpa, and look forward to surprising our clients once again." A family-owned theatre circuit with a mission to provide upscale, familyoriented entertainment, Cinepolis has enthusiastically adopted Barco's cinema innovations over the past five years as it has grown its footprint from Mexico and Latin America, to India, the United States and Europe. "Cinepolis is a long-time Barco partner with a well-established reputation as a pioneer in movie
exhibition," says Ivan Cannau, Vice President Latin America for Barco. "It has consistently adopted our groundbreaking cinema technologies - in close to 4,000 screens worldwide - to offer patrons the ultimate moviegoing experience." "This marks another exciting step in Barco Escape's continued worldwide expansion," says Todd Hoddick, CEO of Barco Escape. "We're thrilled to team with Cinépolis to bring the future of the cinema experience to audiences with the first installation of a Barco Escape theatre in Latin America." Originally launching the format in five test theatres last September, Barco has been working hand-inhand with today's top studios and filmmakers to create projects that offer audiences an unmatched immersive viewing experience - only available in theatres. The company is also developing innovative, alternative content and event programming opportunities to fill theatres during off-peak hours. Barco recently announced a fiveyear, multi-title per year agreement with 20th Century Fox to release films in Barco Escape. The company also inked a deal with Jerry Bruckheimer Films to use the Barco Escape technology on a new, upcoming project, along with reenvisioning a classic Bruckheimer film in the format.
Sony's SRXR515DS Gains DCI Certification
Jurassic World Returns to Domestic IMAX 3D Theatres for One Week
Sony Digital Cinema 4K announced that every projector in its 4K only line-up conforms to stringent industry standards for picture quality. The bright choice for larger cinema screens, Sony's SRX-R515DS 4K Projection Solution has been certified as meeting specifications set by the DCI (Digital Cinema Initiatives), assuring operators and audiences of crystal-clear, high-impact images. Recently announced at CineEurope, National Amusements have selected the SRX-R515DS dual projection system for their new XPlus premium screens in Reading, UK. In Italy, Cinema Andromeda has also selected the SRX-R515DS, alongside Multisala Ciaky. "We're proud to offer our operator customers a complete family of DCI-compliant projectors from Sony to suit every cinema, including today's new wave of premium large-format screens" says David McIntosh, Vice President, Sony Digital Cinema 4K Solutions for Europe and the Americas. "The SRX-R515DS generated an incredible reaction at last month's CineEurope show in Barcelona", adds McIntosh. "The clear feedback we're getting from European operators is the importance of image quality as a real differentiator for their business particularly in the fast-growing PLF segment where the DCI-certified SRX-R515DS delivers a truly compelling proposition."
In response to enormous popular demand, IMAX Corporation and Universal Pictures announced that Universal and Amblin Entertainment's global-recordbreaking film, Jurassic World, will receive a special week-long engagement in domestic IMAX 3D theatres beginning August 28. Since its record-setting global IMAX release on June 12, Jurassic World has become the second-highest-grossing film in IMAX's history, with $116 million and counting, second only to Avatar. "Starting with its record-shattering debut in IMAX theatres around the globe, Jurassic World truly has become a cultural phenomenon," said Greg Foster, Senior Executive Vice President, IMAX Corp. and CEO of IMAX Entertainment. "We're proud to have been a part of this ground-breaking release and now we look forward to offering audiences another opportunity to experience Jurassic World in IMAX." "The extraordinary success of the IMAX release of Jurassic World was driven by audiences who needed to become immersed in every wondrous and heart-racing scene in the film," said Nick Carpou, President of Distribution, Universal Pictures. "We are proud to partner with IMAX once again to give moviegoers what they have demanded: another
chance to see Jurassic World this summer in this incredible format." The IMAX 3D release of Jurassic World is shown in its digitally re-mastered format, which includes the image and sound quality of The IMAX Experience with proprietary IMAX DMR (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX's customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.
Dolby Atmos to Premiere at 40th Toronto International Film Festival Dolby announced the permanent installation of Dolby Atmos technology at the year-round home of the Toronto International Film Festival (TIFF) Bell Lightbox, Cinema 2. The theatre's new sound system will launch at the festival's 40th anniversary with the Twentieth Century Fox title The Martian, directed by Ridley Scott; Every Thing Will Be Fine, directed by Wim Wenders; and the Elevation Pictures title Hyena Road, directed by Paul Gross, all delivering the
Christie Previews 22,000 Lumen Cinema Laser Phosphor Projector at BIRTV 2015
immersive cinematic experience that audiences worldwide have come to expect from the Dolby Atmos format. From then hereon, moviegoers can enhance their immersion in future films at TIFF Bell Lightbox, Cinema 2, with a permanent installation of Dolby Atmos technology. Dolby Atmos breathes life into storytelling by allowing filmmakers the creative freedom to easily arrange sounds anywhere in the movie theatre, even overhead, with amazing richness and depth. "Dolby has always been a strong advocate for independent filmmakers and continues to support their vision to bring immersive sound into their creative work," said Vince Voron, Vice President, Executive Creative Director, Dolby Laboratories. "With the permanent installation of Dolby Atmos at TIFF Bell Lightbox, all filmmakers will have a unique venue to exhibit their movies and provide audiences a lifelike cinema sound experience." "In the heart of modern warfare, Dolby Atmos captures and accentuates the sounds of crisis," said Paul Gross, writer-director of Hyena Road. "Our team was incredibly excited to create a totally immersive sound landscape that underscores the essence of Hyena Road." The Dolby Institute hosted a panel discussion on immersive storytelling through sound, featuring Hyena Road as a case study, at TIFF Bell Lightbox, Cinema 2. On September 16 EDT, Glenn Kiser, Director of the Dolby Institute, presented a clip in Dolby Atmos and moderate a discussion on the sound design and music of Hyena Road. Panellists include director-writer and actor Paul Gross and members of the film's sound and music creative teams.
Christie is demonstrating its new laser phosphor (LaPh) projection technology at BIRTV 2015. Capable of 22,000 lumens, and 30,000 hours to 50 per cent brightness, this new technology features reduced maintenance costs, lower environmental impact, and simplifies operational workflows. Following on the recent announcement of the Christie CP2208 cinema projector, this prelude to Christie's LaPh line-up is a clear example of the company's commitment to the exhibition community. "Our customers are looking for choice, whether that be Xenon lamps, pure RGB laser or laser phosphor technologies," said Don Shaw, senior director, product management, Christie. "As each customer environment is unique and, consistent with our 85-year tradition in cinema, we continue to be focused on meeting the individual needs of each exhibitor." Shaw added that "Lamp-based projectors remain a very popular and proven choice for exhibitors. However, many exhibitors are now looking to reduce the operational costs and environmental considerations associated with ongoing lamp usage. LaPh illumination systems provide a viable option for these exhibitors across a broad range of brightness classes commonly used for cinema projection." Christie's approach to new technologies is to first focus on the market need, then apply significant research and development to ensure best in class products, focusing on performance, reliability, and value.
"We are previewing our 22,000 lumen laser phosphor projector for cinema, just one of many different LaPh projection solutions from Christie, that will eventually serve a diverse segment of cinema and other professional projection applications," said Shaw. "Our familiarity and expertise with LaPh technology, as evidenced in the introduction of our GS Series for professional use outside of cinema, positioned us to move quickly into a system that is optimized for use in more demanding cinema applications," said Shaw. "With laser phosphor and xenon lamp illumination systems covering the entry and mid-range market segments for cinema projection, all the way up to the power and brightness of Christie RGB laser projection for premium large format (PLF) screens, Christie is once again showing unparalleled diversity in products and services required by exhibitors around the world." The Christie CP2208-LP, Christie's first laser phosphor solution for cinema, will be available in early 2016, followed shortly thereafter by a family of powerful LaPh products spanning the range up to 22,000 lumens. Christie's other plans for LaPh illumination in cinema includes offering retrofit kits for those customers who currently have lampbased digital cinema projectors. Starting first with retrofit kits for ~10K lumen class products, then followed by future retrofit kits that will be released in lockstep with brighter LaPh projectors as the company moves up to the maximum capabilities of this exciting new technology. Customers interested in the retrofit kits will have the option of purchasing the kits or leasing them from Christie on a monthly basis.
Christie 6P Laser Projection System Wins Prestigious BIRTV Award Christie, the industry-preferred brand in the digital cinema projection market, is proud to announce that it is the recipient of the prestigious BIRTV Award for the Christie 6-Primary (6P) laser projection system at the 2015 Beijing International Radio, TV & Film Equipment Exhibition (BIRTV). The BIRTV awards programme, sponsored by the BIRTV committee and the Advanced Television Engineering Magazine, is among the most prestigious awards to be given out in the digital cinema industry. Winners are selected by a panel of industry experts according to rigorous and objective standards. The judging panel praised Christie's laser projection technology as a groundbreaking achievement that results in a superior 3D cinema experience for all movie-goers. Anchored by the Christie Freedom laser illumination system, the Christie CP42LH 6P laser projector can produce brightness levels up to 60,000 lumens and a colour gamut that exceeds the DCI P3 colour and replicates the Rec. 2020 space, making it the most advanced RGB laser cinema projection system on the market. Utilizing a scalable laser light source with a choice of projection heads and a fibre cable that connects the laser light source with the projection head, the complete laser projection system is engineered to produce high brightness levels and exceptional colour utilising a high bit depth 4K resolution imaging engine. This results in vastly improved 3D light levels, image uniformity, viewing comfort, and an enhanced sense of immersion. Shuai Zhen, senior sales manager (Entertainment Solutions), Christie China, was presented with the BIRTV Award during the awards presentation ceremony held at the Conference Hall of Beijing International Hotel on August 25. The event was attended by more than
Christie China senior sales manager (Entertainment Solutions) Shuai Zhen with the award trophy and certificate
300 representatives from China's radio, television and film industries. "It gives us great pleasure to receive this esteemed award. Our 6P laser architecture is a real breakthrough for the industry, and is an excellent choice for premium theatres seeking to stand out from the crowd and to create a truly great theatre experience for their audience," said Jason Pei, director of sales, Christie China. Christie's 6P laser projection system has been installed in numerous premium large format theatres worldwide. In China, a 6P laser projector has been fitted in Hall 1 of the prestigious Shanghai Film Art Center where audiences are able to get the best 3D movie-viewing experience on the 23-meter Oriental Mega Screen. And in 2014 Dolby worked with Christie to design new proprietary HDR technology with enhanced colour that would leverage customized, high-frame-rate (HFR) capable Christie 4K laser projection heads, to deliver a highly customized and unique light path. Combined with Christie's 6P modular laser light sources, this technology delivers high-contrast images and ultrabrightness, which define the visual excellence of Dolby Cinema - a branded premium cinema offering that combines spectacular image and sound technologies with inspired design to make every visit a completely captivating cinematic event.
Chinese Exhibitor Jackie Chan Cinema Selects AAM Software Leading cinema software company Arts Alliance Media (AAM) announced a deal with China's Jackie Chan Cinema chain to deploy AAM's Screenwriter Theatre Management System across more than 200 screens. The deal was concluded in conjunction with Beijing CServ, a professional IT and cinema TMS provider and one of AAM's Chinese reseller partners. Jackie Chan Cinema is one of China's fastest growing cinema chains. Founded by the Hong Kong martial arts actor and director Jackie Chan along with the Sparkle Roll Group Limited, one of China's largest luxury product retailers, the chain currently has 213 screens across the country. Screenwriter, the world's most popular Theatre Management System (TMS) is installed on more than 25,000 cinema screens around the world, and manages all screens, content and playlists in a site. Users can see exactly what's happening on all screens in real time from one interface, and even from a mobile device. Screenwriter automates many time-consuming and error-prone processes, saving time and reducing the possibility of mistakes leading to missed shows. Playlists can be built, moved or repeated at the touch of a button, with content transferred automatically and schedules synchronised with the cinema's POS system. Screenwriter also proactively alerts users to any upcoming problems, such as missing content or KDMs, in time to fix them and avoid losing shows. AAM will work with CServ in China to manage the deployment of the software to Jackie Chan screens, upgrading each screen from its existing TMS to Screenwriter.
All Major Hollywood Studios Embrace the Total Cinema Experience with Dolby Cinema Dolby Laboratories, Inc announced five new Hollywood features, including the first two titles from Twentieth Century Fox, will be joining the Dolby Cinema experience. Dolby Cinema, featuring Dolby Vision and Dolby Atmos, is a premium cinema offering for exhibitors and moviegoers that combines spectacular image and sound technologies with inspired design to make every visit a completely captivating cinematic event. The Sony Pictures title The Perfect Guy, in theatres September 11; Twentieth Century Fox's Maze Runner: The Scorch Trials, in theatres September 18; and The Martian, in theatres October 2; followed by the Warner Bros. Pictures title Pan, in theatres October 9, and In the Heart of the Sea, in theatres December 11, will deliver a sense of fear, adrenaline and fun when experienced at a Dolby Cinema location. "We are delighted to see a dynamic slate of movies, with all the major Hollywood studios embracing today's most advanced and powerful imaging and sound technologies," said Doug Darrow, Senior Vice President, Cinema, Dolby Laboratories. "Dolby Cinema has demonstrated that it can transport the audience into a new world of action-packed blockbusters with booming sounds, but can also pack animated films with heart and emotion." Twentieth Century Fox will release Maze Runner: The Scorch Trials and The Martian at Dolby Cinema locations. In the action sci-fi thriller directed by Wes Ball, Maze Runner: The Scorch Trials, the Gladers, having escaped the Maze, now face a new set of challenges on the open roads of a desolate landscape filled with unimaginable obstacles. In the highly anticipated film directed by Ridley Scott, The Martian, astronaut Mark Watney (Matt Damon) is presumed dead after a fierce storm,
during a manned mission to Mars, and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meagre supplies, he must draw upon his ingenuity, wit, and spirit to subsist and find a way to signal to Earth that he is alive. Dolby Cinema begins with the filmmaker's vision-using the full storytelling capabilities that Dolby offers in image and sound production to transform the way movies are made. Combined with state-of-the-art image, sound, and acoustic capabilities, the movie comes alive to deliver cinema in its purest form. Following its first Dolby Cinema feature, Pixels, the Sony Pictures thriller The Perfect Guy ignites frightening intensity on the big screen. After a painful breakup, successful lobbyist Leah Vaughn (Sanaa Lathan) jumps into a passionate relationship with a charming stranger (Michael Ealy). When her ex-boyfriend (Morris Chestnut) resurfaces in her life, she has to figure out whom she should trust and whom she should fear. Pan and In the Heart of the Sea are Warner Bros. Pictures' second and third films to be released at Dolby Cinema locations, following San Andreas. From director Joe Wright, Pan is a live-action feature presenting a wholly original adventure about a
young orphan who is spirited away to the magical Neverland, where he must defeat the ruthless pirate Blackbeard (Hugh Jackman), and ultimately discovers his destiny-to become the hero who will be forever known as Peter Pan. In the Heart of the Sea, directed by Ron Howard, is based on Nathaniel Philbrick's bestselling book about the real-life maritime disaster that would inspire Herman Melville's Moby-Dick. When their ship, the Essex, is assaulted by a whale of mammoth size and will, Captain Owen Chase (Chris Hemsworth) and the rest of his surviving crew are pushed to their limits and forced to do the unthinkable to stay alive. Dolby Cinema enables richer and more detailed storytelling through Dolby Vision and Dolby Atmos. The Dolby Vision projection system, which uses state-of-the-art optics and image processing, delivers high dynamic range with enhanced colour technology and a contrast ratio that far exceeds that of any other image technology on the market today. The result is a dramatically different viewing experience that delivers strikingly vivid and realistic images that make viewers feel like they are in the movie's world. Dolby Cinema also includes the award-winning Dolby sound technology Dolby Atmos, which moves audio around the theatre, even overhead, with amazing richness and depth.
Village Cinemas in Argentina Completes Digital Deployment with Christie Christie is pleased to announce that Village Cinemas, one of Argentina's leading film theatre chains, has completed its digitalization with the Christie Solaria Series. In the final phase of its digital roll out, Village Cinemas installed 38 Christie CP2220 projectors, making the majority of Village Cinemas' 79 screens Christie installations. With 20 years' experience in the Argentinian market, Village Cinemas has eight complexes and 79 screens across Argentina. In 1996, Village Cinemas was the first exhibitor to open a multi-screen complex in Argentina, with Village Mendoza, a 10-screen theatre with a seating capacity of 2,346. Village Cinemas' reputation for being a technology leader differentiates it from its competitors. It is constantly introducing exclusive innovations including theatres with 'love seats' (movable armrests), widescreen systems (wall-to-wall screens), full stadium seating that guarantees a complete view of the screen from any location, and monster screen theatres featuring Dolby Atmos sound. "We had already used Christie equipment during the first phase of digitalization of our theatres and the excellent experience at that time proved a decisive factor in choosing the brand again," said Diego Bachiller, commercial manager at Village Cinemas. "Christie has made a name for itself on the basis of the quality of its products and for the service it provides in Argentina, which is a deciding factor over other brands," Bachiller added. "With regard to the Christie CP2220 model we acquired, its performance and brightness are excellent, it is very easy to handle and user-friendly for our operators, as well as being very competitively priced."
Juan Carlos Chávez, Christie Latin America Director, enthused that "We are delighted that such a highend chain as Village Cinemas has chosen our DLP Cinema projectors from the Christie Solaria Series." Likewise, Edgar Navarro, Cinema Account Manager for Christie in Latin America, noted that "Village Cinemas has always introduced the latest improvements and been at the forefront in offering its audiences innovative cinema technology, so, as you can imagine, we are delighted to be a key player in the technological foundation on which the company is building its plans for the future." Village Cinemas also acquired two units of the Christie ACT automated control solution for film theatres. This is a powerful and flexible webbased system providing total control over a theatre's many functions (light dimmers, masking motors, audio levels, projectors, servers, and more) from any device with web access in the network. In addition, Village Cinemas recently attended a demo of Christie Vive Audio and were delighted with the new cinema sound system. "We tried it out in a theatre in Los Angeles and we were really impressed. It's an excellent product that the audience will definitely appreciate," said Inés Trementino, the chain's manager of Operations. "Of course, we fully intend to bring this system on board and continue differentiating ourselves through technology, because we know that our audiences perceive and value a cutting-edge cinema experience."
Ymagis/dcinex and Austrian’s Cineplexx Install New Dolby Atmos Systems Ymagis Group, the European specialist in digital technologies for the motion picture industry, and Austrian cinema exhibitor Cineplexx, a subsidiary of Constantin Film Holding, GmbH., announced it will equip up to nine additional Cineplexx auditoriums with Dolby Atmos immersive sound technology. Three Dolby Atmos screens were successfully installed in July at Cineplexx Linz, Cineplexx Amstetten and Cineplexx Wiener Neustadt by Ymagis Group's Vienna-based company, dcinex GmbH. The company also completed earlier Cineplexx Dolby Atmos installations in Vienna and Graz, in 2012 and 2013 respectively. "In addition to being the largest Austrian cinema exhibitor, Cineplexx has always been at the forefront of technological innovations in Europe, adopting Dolby's revolutionary sound system back in 2012, which was a first in German-speaking countries," said Till Cussmann, VP Exhibitor Relations of Ymagis Group/dcinex. "By year end, no fewer than 19 screens in Austria alone will have been equipped with Dolby Atmos systems by our skilled engineers and technicians. Thanks to Cineplexx and other clients in Central Europe, we have gained tremendous experience in the installation of this new technology, increasing our ability to offer cost-effective solutions to movie exhibitors." Ymagis Group is the largest services company for advanced immersive sound technology systems with over 60 Dolby Atmos and Barco Auro 11.1 installations across Europe to date. In the first half of 2015, Ymagis Group's technical teams installed a total of 18 Dolby Atmos systems in Germany, Denmark, France, Belarus, Ireland, Poland, Romania and Slovakia.
Cinemark Names Industry Veteran Mark Zoradi as Chief Executive Officer Cinemark Holdings, Inc, one of the world's largest motion picture exhibitors, announced that industry veteran, Mark Zoradi has been named to succeed Tim Warner as Chief Executive Officer effective August 24, 2015. Mr Warner, after a nearly 20-year career at Cinemark and more than a 50-year career in the movie theatre industry, has been named as Cinemark's Executive Vice-Chairman. Mr Warner will work closely with Mr Zoradi and the management team to facilitate a smooth transition. Mr Warner has also agreed to provide consulting services to the company after the expiration of his employment agreement. "Tim Warner is one of the great leaders of our industry," stated Chairman of the Board, Lee Roy Mitchell. "We are grateful for his dedication to our company, as well as his significant contributions to both Cinemark and the global exhibition industry. We are confident that Mark Zoradi will be successful with the support of Robert Copple, our President and Chief Operating Officer, and Valmir Fernandes, President of Cinemark International." "It has been an honour and a privilege to lead the Cinemark team, which I consider the best in the business," stated Tim Warner. "Cinemark's reputation for delivering excellent results and industry-leading initiatives are in good hands with Mark, Robert and Valmir. I look forward to working with Mark, the Board and the rest of the management team to ensure a seamless leadership transition." "I am honoured to become a part of the Cinemark team," said Mark Zoradi. "Working together with the Board and Senior Management, I look forward to all we will accomplish together. Theatrical exhibition continues to drive the economic engine of the motion picture business and Cinemark's global operations are
Mark Zoradi Announced as Cinemark CEO
particularly well-positioned in this ever-evolving industry." Cinemark Director Mark Zoradi, 61, is a seasoned entertainment industry executive, most recently serving as the Chief Operating Officer of Dreamworks Animation SKG, Inc. Prior to his post at Dreamworks, Mr Zoradi served as the President and Chief Operating Officer of Dick Cook Studios, a new media and entertainment start-up company. During his 30 year career at Disney he served in a variety of executive positions including Home Entertainment, Disney Channel, Television, Worldwide Theatrical Distribution/Marketing, and as The President of the Motion Picture Group. Tim Warner joined Cinemark in 1996 as the President of Cinemark International and developed and established a successful theatrical exhibition operation in 14 countries. Mr Warner has also served the exhibition industry as President and Chief Executive Officer of NATO of California/Nevada and as General Chairman of NATO/ShoWest. He is a member of many industry groups and associations and is the recipient of numerous industry distinctions including the ShoWest 2000 International Exhibitor of the Year and the NATO/ShoWest 1989 Exhibitor of the Year.
Telescopic Seating Systems Announces Clean Sweep System Telescopic Seating Systems, LLC announced the introduction of the Clean Sweep System (international patents pending) that will revolutionise movie theatre recliner seating cleaning. The latest trend in movie theatre seating is luxury powered recliner seating. Theatre owners are realising that recliners take dramatically more time to clean than rocker-style seating. The increased cleaning cost is caused by the recliner leg rest mechanisms, which obstruct cleaning, and the time it takes to open and close the recliners for complete access. Telescopic Seating Systems has solved these problems by keeping recliner mechanisms off the floor. This eliminates the nooks and crannies that trap and hold decaying food. TSS' Clean Sweep System allows all recliners to be opened and closed simultaneously with the push of a button. It can take up to 1-1/2 labour hours to press the recliner extend and retract buttons to clean a room of 90 recliners, with 30 seconds to open the recliner, and 30 seconds to close it. The 1-1/2 cleaning hours are reduced to approximately ONE MINUTE with the Clean Sweep System. The added operating cost of cleaning a theatre can be tremendous so immediate payback is one benefit of the TSS Clean Sweep System. TSS' patent pending Clean Sweep System is customisable. Configurations include entire room control, single row control, select chair(s) control…all while maintaining individual control of chairs. Secure control can be wired or wireless. Clean Sweep is also available in standard and advanced models. Features include under chair lighting to aid cleaning, programmable under chair lighting, and preventive maintenance modes. Clean Sweep's advantages range from labour
savings to cleaner theatres, POS integration and retrofitting. Existing recliner seating from any company could be retrofitted with the TSS' Clean Sweep System.
Cinemark Announces Grand Opening of New 14-Screen Movie Theatre in Roanoke, TX Cinemark Holdings, Inc, one of the world's largest motion picture exhibitors, opened a new 14-screen theatre in Roanoke, Texas, on August 13, 2015. The Cinemark Roanoke and XD will feature Cinemark's NextGen cinema design concept, Luxury Lounger recliners and expanded dining options, along with beer, wine and frozen cocktails. Located at 850 East Highway 114, the Cinemark Roanoke and XD will showcase large, wall-to-wall screens, enhanced sound systems, and digital presentation in every auditorium. The theatre will feature a Cinemark XD: Extreme Digital Cinema auditorium and several of the auditoriums will be RealD 3D capable. "Our new theatre was designed to offer the city of Roanoke, as well as the North Ft. Worth area of the Metroplex, a complete, state-of-theart entertainment destination," stated Tim Warner, Cinemark's Chief Executive Officer. "With our Luxury Lounger recliners, Cinemark XD auditorium, expanded dining options and beer, wine and frozen cocktails, the theatre will quickly become recognized as the preferred entertainment destination." As a pioneer in the theatrical exhibition industry, Cinemark is taking the cinema entertainment experience to the next level. Cinemark Roanoke and XD, will offer the latest technology, cutting edge amenities and customer preferred options all under one roof.
Regal Entertainment Group Rolls Out Red Carpet for "Goosebumps" Benefit Screening Regal Entertainment Group, a leading motion picture exhibitor owning and operating the largest theatre circuit in the United States, announced that Jack Black is scheduled to attend an exclusive benefit screening for Sony Pictures' upcoming film, Goosebumps. Regal Cinemas Pinnacle 18 IMAX & RPX in Knoxville, TN, hosted the event on Thursday, September 24, with proceeds benefiting Variety The Children's Charity of Eastern Tennessee. "Regal is honoured to host Jack Black at this benefit screening to raise money for Variety's special needs children. Throughout his career, Jack has been a true force in the entertainment industry and we are excited to bring this actor, musician and comedian to East Tennessee," stated Greg Dunn, president and chief operating officer of Regal Entertainment Group. "We extend our sincerest gratitude to our friends at Sony Pictures for making this screening possible and helping raise funds for Variety." Variety - The Children's Charity is a multi-million dollar philanthropic organization that spans the globe with 43 chapters in 13 countries, improving the lives of children through creative fundraising efforts, well-placed donations with exceptional children's charities, and through its own charitable programs. With the help of volunteers and sponsors, Variety - The Children's Charity continues its mission to provide lifesaving and life-enriching assistance to children in need on the local and international level. The local chapter of Variety was founded in Knoxville by Regal Cinemas in 2001 and since then has generated more than $7.6 million to assist children in East Tennessee. "With the success of the 'Goosebumps' series of books, we know there is an enormous fan base
of adults and children that are truly excited to see this adventure comedy up on the big screen," said Ken Thewes, chief marketing officer at Regal Entertainment Group. "Regal is thrilled to bring this film and star to Knoxville for the benefit screening while raising money for a great cause." Beginning September 11, a limited number of tickets are available for sale to the public at Regal Cinemas Pinnacle, West Town Mall and Riviera theatres in Knoxville. Each ticket will cost $50 with proceeds benefiting Variety. Guests of the event will enjoy a catered reception in the Pinnacle lobby before Black walks the red carpet to greet the crowd. After the red carpet reception, attendees have the honour of being some of the first moviegoers to view the film. Scholastic has over 400 million Goosebumps books worldwide in 32 languages in print since the series introduction in 1992, earning critical acclaim and dominating global best seller lists. R.L. Stine has been recognized as one of the bestselling children's authors in history. Now, the literary phenomenon is coming to the big screen. September-October 2015
Vue International Acquires Second Largest Cinema Chain in The Netherlands Vue International ("Vue") one of the top five cinema groups in the world by box office revenue, announced the acquisition of JT Bioscopen ("JT"), the second largest cinema chain in the Netherlands, for a total cash consideration of 85m (Euros). The acquisition is Vue's fourth international transaction in three years and brings its total number of sites to over 200. Entering the Netherlands through this high quality acquisition is in step with Vue's investment model that the company has successfully adopted across Europe. JT has 21 cinemas and 111 screens across 20 towns and cities. Notably, the company opened 7 new sites in the last 4 years which are amongst the most modern cinemas in the world. These new sites include the state-of-the-art multiplexes in Hilversum, Hoorn and Eindhoven which features the first Dolby Cinema laser projection technology system in Europe. Under Vue's ownership JT will continue with their extensive new site development plans, fitting well with Vue's strategy of bringing the best in big screen entertainment to an ever increasing audience. The Netherlands is a growing market for cinema with the number of admissions increasing by over a third in the last ten years driven by a combination of a rise in the number of screens and the increasing success of local film productions that now regularly account for over 20% of admissions and box office. It is also an exciting time for the industry generally with a strong release schedule to look forward to over the coming years. "International expansion is an important element of our growth strategy and we are delighted to have acquired JT, enabling us to enter the buoyant Netherlands cinema market. This acquisition signals our commitment to owning, managing and developing the highest quality
cinema assets around the world. Our ambition is to be the best in big screen entertainment and to be at the forefront of technological development. I am excited about the growth plans for JT and looking forward to working with JT's Managing Director Ron Sterk and his team." "For JT this is a very important step in its strategic development and Vue is the best possible partner to help materialize our ambitions for growth, innovation and focus on the customer experience overall." Vue's most recent acquisition prior to JT was of Italy's largest cinema chain, Space Entertainment S.p.A., in November 2014. In the two years before this Vue acquired Apollo in the UK in May 2012, CinemaxX in Germany and Denmark in August 2012 and Multikino in Poland and the Baltics in September 2013. Vue has grown both organically and through a series of acquisitions across Europe. The JT acquisition will mean the company now spans ten countries with 209 sites and 1,859 screens. The acquisition has been carried out by a newly incorporated Dutch limited liability company owned by a subsidiary of Vue which is a holding company of Vougeot Bidco p.l.c (Bidco).
DX Expands Chinese Footprint
and Wanda Cinema Line opened its first 4DX movie theatre in Ganghui, Dalian and recently added the second 4DX theatre at the Jingkai site in Dalian province in 2015. CJ 4DPLEX and Wanda strengthened their partnership deciding on plans to operate total 5 4DX theatres including at the chain's Haoxian and Beijing CBD locations. Dadi Cinema Group is a large movie theatre operator and currently running over 560 theatres in 203 cities across China. In China, 4DX now has 34 screens with expectations of 20 more sites to open by the end of the year. 4DX has seen success in China currently working with eight partners including Wanda Cinema Line, UME and CGV. Last week, CJ 4DPLEX participated in BIRTV 2015, the largest international Radio, TV & Film Equipment Exhibition in Asia and received much attention from many cinema operators. The Chinese convention-goers were able to not only experience a new effect, rainstorm that was added this year, but also the new more spacious motion chairs that 4DX exhibited at their booth through a mini-demo. Wanda Group and Dadi Cinema Group join other major cinema players that have strong partnerships with 4D CJPLEX and are the leaders in their respective countries. Earlier this year, PVR Ltd, India's largest theatrical chain began adding a 4DX screen and Japan's top multiplex chain AEON Group continually has been adding new 4DX screens to its locations.
The new theatre will be at the Baolong Plaza shopping mall, which is located in the centre of Xiaoshan,
The Chinese movie market has been growing rapidly, recording an average annual growth rate of over 30%. Looking around the world, the average person goes to the movies 4.2 times a year in Korea and 3.7 times a year in the U.S. In contrast, the average person in China goes to the movies on 1.1 times a year pointing towards the country's huge
Hangzhou. CJ 4DPLEX is adding to an already strong presence in China having announced the installation of a new 4DX theatre with Wanda Cinema Line last week. CJ 4DPLEX
growth potential in the development of their film market. With an infinite number of possibilities, 4DX aims to continue pushing its immersive cinema system into the China.
CJ 4DPLEX, the world's first 4D cinema company, has an agreement to open the first theatre this October through partnership with Dadi Cinema Group, China's second largest multiplex chain to partner with 4DX.
Severtson Screens' Price Estimator Featured at Kino Expo 2015 Severtson Screens, a global leader in innovative and quality projection screens for the cinema, commercial, pro AV, and home theater markets, featured its new cinema screen price estimator during Kino Expo 2015. The new technology for its dealer base is now available via its website as well as a mobile app for Apple iOS and Android Smartphones. "Do you already know exactly what you're looking for in a cinema screen and want to know the price right away, any time of the day or night?" asked Toby Severtson, president and CEO of Severtson Corp. "We've designed the new price estimator to do just that for our dealer network. Simply log on to www.severtsonscreens.com/tools or visit the App Store to download the Severtson Price Estimator to your phone. After registering and logging in, dealers can instantly get quotes on the exact cinema screen they are looking for. This is going to save a lot of time for customers, especially with international orders. With this new tool, dealers can find out prices without having to speak with a sales representative or waiting for an email response." Once the dealer is registered with an account and granted access at www.severtsonscreens.com/register, the tool provides product and packaging price estimates for Severtson cinema screens as soon as they input the necessary required information, such as screen dimensions, coating, material, and desired packaging. The packaging portion of the price estimate is then calculated based on the selected product's weight and container dimensions, which the tool also provides. For each estimate requested, the customer will receive an automated email and PDF file detailing the screen price and packaging estimate. Prices are only estimates and do not include shipping charges or any other potential international fees.
"The new Price Estimator also features our new folded S?Vision 3D GX line of cinema projection screens which can reduce international shipping costs by up to 70 percent, providing tremendous cost and time savings for Severtson customers worldwide," added Severtson. Severtson Corporation is a member of the Giant Screen Cinema Association. They have manufactured cinema screens for theaters in countries all over the world, including the United States, Mexico, Canada, Korea, Japan, Brazil, Indonesia, Singapore, Spain, Germany, France, New Zealand, Australia, Netherlands, Thailand, Scotland, China, Russia, and many more. To meet the challenge of creating extremely large screens, Severtson Corporation designed a robotic spray-arm application system to paint its screens as large as 67.75ft.x 150ft. (20.7m x 45.8m). It is currently the largest in-house cinema screen optical coating system in the world. Severtson Screens certifications and partners include Technicolor, MasterImage, Dolby, Volfoni, DepthQ, and RealD. Approaching its 30th anniversary in 2016, Severtson Corporation continues to be a global leader in innovation and quality. The Severtson family's extensive experience in manufacturing small home theater screens and large cinema screens has given Severtson Corporation the expertise to meet the needs of the professional and consumer AV markets for both indoor applications as well as large outdoor venues. With its three Arizona-based production facilities and its state-of-the-art robotic application system, Severtson has plentiful production capabilities and an unusually wide array of screens. The screens range in size to accommodate massive movie theaters, comfortable home theaters, and everything in between.
Ballantyne Strong Authorises Share Repurchase Program Ballantyne Strong, Inc, a diversified provider of digital technology services, products and solutions, announced that its Board of Directors has authorised the repurchase of up to 700,000 shares of its outstanding common stock, or approximately 5.0% of its outstanding shares, pursuant to a plan adopted under Rule 10b5-1 of the Securities Exchange Act of 1934 (the "Act"). "Considering the Company's strong cash position and balance sheet, Ballantyne's Board has decided to authorise a share repurchase program for possible share repurchases," stated Chairman of the Board of Directors, Kyle Cerminara. "Importantly, this action is not a change in overall strategy as Ballantyne remains committed to seeking opportunities to grow organically and identify acquisition opportunities that will leverage our expertise, market position and capital access," added Mr Cerminara. A plan under Rule 10b5-1 allows a company to repurchase its shares at times when it otherwise might be prevented from doing so under insider trading laws or because of self-imposed trading blackout periods. A broker selected by Ballantyne Strong will have the authority under the terms and limitations specified in the plan to repurchase shares on Ballantyne Strong's behalf in accordance with the terms of the plan. Because the repurchases under the plan are subject to certain pricing parameters and other regulatory requirements applicable to repurchase under Rule 10b-18 of the Act, there is no guarantee as to the exact number of shares that will be repurchased under the plan, or that there will be any repurchases pursuant to the plan.
â€˘ SPECIAL STORY â€˘
Corinne Thibaut On Cinema, Leisure & Coca-Cola... The Coca-Cola Company, known for its flagship beverage Coca-Cola, has been omnipresent at the cinema exhibition businesses world over. The main sponsor for this year's CineEurope convention at Spain, Coca-Cola once again enthralled the audiences by showcasing a new theme for the lounge. TheatreWorld catches up with Corinne Thibaut, International Director, Cinema & Leisure, to bring you an indepth analysis of the Coca-Cola seminar and to understand what makes a complete film viewing experience.
• SPECIAL STORY • Think of a complete film viewing experience and what comes to your mind instantly is relishing your favourite munchies and drink in the interval or even as you watch the movie. Food and beverages have always made our cinema time a lot more savouring and fun filled. And it's the omnipresence of this one beverage at the concessions stands that's hard to miss no matter where you are - Coca-Cola or simply Coke! The Coca-Cola Company, the multinational beverage corporation, known for its flagship product CocaCola, has been making an indelible mark at the cinema exhibition businesses world over. The main sponsor for this year's CineEurope convention (22 - 25, June 2015) at El Centro De Convenciones Internacional De Barcelona, Spain, Coca-Cola once again enthralled the audiences by showcasing a new theme for the lounge. CineEurope, the official annual convention of UNIC and the premier get-together of the cinema exhibition community in Europe, organised by Prometheus Global Media (PGM), ended with a remarkable response from the exhibitors and attendees. Raghavendra T, Editor-Publisher, TheatreWorld was at the convention to get you a first-hand perspective of the insightful sessions. The Coca-Cola Company's seminars have been the highpoints of CineEurope. It is a unique opportunity for cinema owners and other stakeholders in the business to leverage the in-depth research undertaken by the Company in understanding the overall cinema experience. The Coca-Cola seminar at CineEurope 2015 titled 'Growth in
the Experience Economy' was presented by Corinne Thibaut, International Director, Cinema & Leisure and Enrique Burgos, Digital Manager at The Coca-Cola Company. Corinne has 21 years of experience in sales, marketing and business development. She started her career with Master Foods in 1994 and joined Coca-Cola in 1999. Coca-Cola appointed Corinne in the role of International Director, Cinema & Leisure three years ago. In that role, Corinne oversees Coca-Cola's engagement with the cinema industry across Europe. At the seminar, Corinne explored the different possibilities of businesses tackling the challenge of delivering memorable experiences in the ever competitive world; how the cinema experience in Europe stacks up; and how to connect with your visitors to personalise their visit and make it an event - every time. The focus on value digital signage for cinema owners adds not only to the overall
guest experience, but also to the possibilities of maximising revenue growth. TheatreWorld brings you an indepth analysis of the seminar presented by Corinne Thibaut.
Cinema Research for Coca-Cola by IPSOS 2014 The findings of the Cinema Research conducted by IPSOS for Coca-Cola offer key insights into understanding the possibilities of unlocking the immense growth potential in the cinema exhibition business. The cinema research was conducted last year in 10 countries in the EU region (18,700 interviewed in the age group 15 to 59 years) with a two fold objective: •
To understand the drivers and barriers in going to the movies and buying food and beverages (F&B) in cinemas
To understand the overall cinema experience
Despite massive investments in the latest technology, admissions to cinema halls in Europe have remained unaffected. According to the Research, it is found that 55% of people have not been to the movies in the last 12 months and that 30% per cent of the movie-goers do not consume food and beverages at the cinema. In fact, more people visit toilets (66%) than concession stand (45%). September-October 2015
• SPECIAL STORY • BARRIERS TO GOING TO MOVIES
Barriers: When asked why people had NOT visited in the last 12 months: 54% said it was expensive; 27% sought time pressure as a reason; 23% said they had other responsibilities; 17% said it was the film choice and 11% said movies do not match their schedule. Why people HAD visited in the last 12 months: 49% go to relax and unwind; 30 - 39% go to enjoy with family and friends; 34% go to indulge; and 26% go to socialise. The research also highlights the drivers of going to movies: •
The film offer (94%)
Technical quality (93%)
And very low down the list: the Ambience (9%). While the overall ambience is a driving factor for only 9% of the moviegoers, 80% believed it is an important aspect.
Conclusion: The film offer and technical quality are the major drivers, and there is a massive opportunity to drive cinema experience, which is currently perceived as very poor! "The structure of the Coca-Cola presentation is based on PITA model (Population, Incidence, Transaction Size and Amount)," informed Corinne Thibaut and added "The model proposes: Drive more people to the movies; Entice more people to buy cinema and F&B; Incentivise people to buy more; and finally Persuade people to spend more."
Strong Correlation between F&B Consumption and Visiting Cinema Analysing the consumer profile of those who consume F&B at cinema has revealed some facets that can be of practical significance to cinema owners. Those who consume more F&B: •
Have a younger age profile
Go more often to the movies
Have a higher intent to visit
Have a more positive evaluation of the overall experience
MOTIVATIONS FOR GOING TO MOVIES
This clearly indicates that people consuming F&B are highly important customers to the cinema exhibition industry. Barriers to F&B Consumption: Why people had NOT purchased in the last 12 months: expensive (58%); lack of variety (20%) and unnecessary (20%). The missing link where one can make a difference is tapping the 55% who haven't visited cinema.
Overcoming Barriers Pricing - Improving the Value for Money Perception The research indicates that 54% of people had NOT been to the movies due to prices! People feel nervous about spending too much when they go to movies. Moviegoers who had visited in the last 12 months said: •
Price is an important aspect (88%)
Cinema is rather expensive (50%)
Movie-going offers value for money (10%)
The enormous success of 'Cheap days' (almost as big as the Saturdays!) demonstrates the price elasticity. But discounting doesn't have to be the solution: •
All inclusive packages can help improve the value-for-money perception.
"Also, the principle of "Expandable Consumption" can apply, where pre-paid cards can drive admissions without discounting aggressively," said Corinne Thibaut. For instances, if consumers have more beverages
stocked at home, they would consume it more frequently hence the multi-pack packaging works! The same principle applies to movie going. •
Finally, "Satisfied or money back": this innovative offer in cinema has been successfully tested in France. If a moviegoer dosen't like the movie and leaves the auditorium within the first thirty minutes, s/he gets money back, making the investment low risk and thus driving admissions," informed Corinne Thibaut.
Time - Positioning Movie-going as a Full Evening Night-out According to the research, 27% of the people sight time pressures as a reason for not visiting cinema. But people DO have time (and money) for plenty of other activities. It's only that going to the movies has moved down the list, as there is increased competition in terms of leisure time activities such as surfing internet and relaxing at home. "Positioning movie-going as a full evening night out to capture more time and money is poised to make a difference," suggested Corinne Thibaut and added "The core idea is that new customers will visit provided there is a good implementation of F&B and entertainment. Cineplex in Canada is the best example! The entertainment company is diversifying its business beyond movies and deploying a 'social destination' concept, which will combine dining, gaming and live entertainment. Similar initiatives have been witnessed in Europe with Cinema Paradiso and ephemeral concept by MK2 in France, for instance."
• SPECIAL STORY • DRIVING FACTORS FOR GOING TO MOVIES
11% of movie-goers, while it is an important aspect for 83% of them. This is another barrier that needs to be addressed. Some cinemas have done so by showing a movie every 10 minutes - A highly convenient option for viewers.
BARRIERS TO BUYING CINEMA F&B
Motivations & Drivers for Going to Cinema
Promoting Cinema for its Mental Benefits A research conducted by Dr Holland, demonstrates that going to the movies is the only activity which gives your brain a vacation. One gets so lost in a movie that the brain doesn't try to take actions. People feel more relaxed and less stressed after the movie. These mental benefits of watching a movie in a cinema need to be communicated to the consumer. Other Responsibilities Another finding of the research is that in the lifecycle of moviegoers, admissions of young adults drop once they have kids. 23% of the people said they had other responsibilities. Some cinemas have been quick to address this. "Kinepolis Madrid, for example, converted an auditorium into an indoor playground with child care facility. Odeon Milton Keynes has a kids zone in the movie theatre. The idea is to ensure parents and kids can enjoy the movie together," said Corinne Thibaut.
Relaxation & Indulgence: For 34% of the population, indulgence was the motivation while relaxation motived 49%. And 39% go to movies just to have fun. Taking cue from this, some cinemas are taking indulgence and relaxation to the next level. Pillow cinema (cosy bean bags and waiter service to your pillow) and hot tub cinema make for a truly memorable and pampering night out. The core idea is not just to show movies but to celebrate them. If Diet Coke Hunk at the Ladies nights can be a blast, cinemas should give it a try! The Film offer is the driving factor for 94% of the people, and technical quality for 92%. "Mainstream moviegoers are unwilling to pay a premium price for it technical excellence as they tend to get lost with all the new developments. Kinepolis is leading the way in improving technological understanding by communicating the consumer benefits of the
technical advancements. Trailers are played in cinemas, educating movie-goers about HFR and Laser Ultra," Corinne Thibaut pointed out.
Desingning Memorable Experiences The overall atmosphere or ambience ranks very low down on the list: driver for 9%, while 80% of people think that it is important. There is massive opportunity to improve the ambience, and the theory of the experience economy can help cinemas to achieve this. The core competence of the cinema owners lies in upgrading their offering from selling products or services to selling experiences. Themed restaurants such as Hard Rock Café and Planet Hollywood are best examples as they have been wrapping experiences around their food offer, to sell it
HAVING FUN AT THE MOVIES
Film Offer - Let Consumer Choose If 17% of the film goers were not satisfied with what the film had to offer, this is indeed a wakeup call! Screening old blockbusters on popular demand is a way to go. Let customers choose which movie they want to see again on the big screen. Enabling consumer taking control of cinema by voting for their favorite movie and sharing the event with their friends is a smart way to drive admissions when the film offer is poor! Fitting into Schedule Movie timings not matching the consumer schedule is a barrier for September-October 2015
â€˘ SPECIAL STORY â€˘ better. So people come for the experience, not for the food! Walt Disney has been the very first one to understand and exploit the concept of experience. Similarly, the cinema exhibition industry needs to focus on the overall experience, bring back excitement and magic and deliver memorable experiences to ensure a sustainable growth. Theme the Experience: Have a well-defined theme that will captivate the customer to make the experience memorable. Provide Clues to Strengthen the Experience: All the "little things" make the difference between an "average" experience, and a "fantastic" one. It's as simple as a red carpet to welcome the customers (ideally leading them to the concession stand). Eliminate Negative Queues: According to research, it would take three positive experiences to balance out one negative one! And the most negative element the consumers typically experience in a cinema is the queues. Cinema owners must take cues from olden days when live street entertainers used to sing or perform in cinema queues. New technology can be used entertain people waiting in queues. Mix in Memorabilia: Including memorabilia in the movie-going experience by selling movie merchandise in a beautiful shop is a great idea. Guests can go through the shop when leaving the cinema. Engage All 5 Senses: The more senses an experience engages, the more effective and memorable it will be. F&B can leverage all senses!
Driving F&B Sales The Coca-Cola seminar encapsulates some solutions to address the barriers to buying cinema F&B and to incentivise people to buy more. Coca-Cola suggests introducing entry packs/affordable offers as a way to address negative price perceptions. Better to sell a little something, rather than nothing!
AMC has been addressing the "lack of variety" barrier to buying F&B by offering and communicating about a broad range of their retail concepts. Even though F&B is NOT a necessity (one can survive without eating or drinking during show time) people want to indulge themselves when going to movies. There is an opportunity to make F&B convenient with innovative packaging solutions. Linking combo offers with the movies is a good idea. Vue International, for instance, has been using the right look and feel and tone of communication so that the offer becomes especially appealing to movie fans. PathĂŠ Switzerland showcases F&B on the big screen during the changeover. As far as maximising revenue and profit from beverages is concerned, the key lies in the right set of cup sizes & prices.
compelling stories and positive conversations about their brands. This requires moving the marketing to a whole new space. To communicate with people in more personal and intimate spaces, the focus needs to change from: reach to relevance; awareness to experiences; engaging audience to building trust; collecting data to managing data and scale marketing to customisation. To communicate with people in more personal and intimate spaces, a 7-point strategy will help unlocked the growth opportunity. Mobile First: One needs to shift out mind-set to engage with an always on mobile population Content is Crucial: Content needs to be credible positive, real and culturally relevant
Persuade People to Spend More: Several cinema chains in the US have proven the case by offering luxury seating and quality service. AMC is a case in point. The company announced plans to convert 25% of all its screens to luxury seating. More and more theaters are offering a first-class experience with dine-in movies, cocktail bars, special events and luxury seating. A lot of people are willing to pay a premium to attend movies in these kind of luxurious surroundings.
Social Fluency: Being available to consumers when they need you
Coca-Cola's Vision The New Digital Consumer
Corinne Thibaut Concludes: "the growth potential is out there, and delivering memorable experiences to movie-goers is key to ensure sustainable return - making the experience bigger than the movie.
Coca-Cola's vision for future is simple and clear: Build further brand love and brand value by generating
Product as a Media: Any product has its own digital life Data Activation: Leverage data to deliver a personalised experience to the consumer Right Partners: Using the right partners in the right way Context Triggers: Understand the context and deliver right triggers to drive purchase
• TECHNOLOGY •
Storage Options for Digital Cinema The phenomenon of digital cinema has brought new challenges related to storage solutions. In the concluding Part 3, we look into the future of digital cinema and hard disk drives.
The Future of Hard Disk Drives IBM introduced the first hard disk drive in 1956. Since that time, these useful devices have increase over a billion times in storage capacity while shrinking to the size of today’s 2.5-inch and smaller HDDs. Advances in HDD technology have involved the development of head, medium (disk), motors, servo systems, drive electronics as well as enclosure and contamination protection technologies. Together these advances have created a reliable low-cost digital storage technology that is used in many applications and that is the repository for much of the world’s information, including video content.
Higher HDD areal densities (the number of bytes of information that can be stored per surface area of the disk) provide more digital storage capacity per disk and thus per disk drive. Note that other factors, such as the number of disks in a HDD are also important factors in the total HDD storage capacity. However, in terms of staying ahead of other storage technology in $/TB, such as flash memory, increases in HDD areal density are the chief tool. Current HDD areal density growth trends (Giga-bits per square inch or Gbpsi) are in the range of 15% annually. However, the actual
Figure 1. Quarterly HDD Product Announcement Trends from Q1 2000 to Q1 2015
advances in HDD AD do not occur in any sort of regular predictable order as shown in Figure 1 where maximum HDD areal density per quarter is plotted. Instead the areal density grows in fits and starts and may stay constant for many quarters. We can create some sort of average growth that represents the overall trend but it is important to realize that with such irregular growth, smooth mathematical growth trend predictions will most likely be wrong at any given point in time. 3.5-inch HDDs have been announced with up to 10 TB of storage capacity. These should be available in 2015. The development of 8 and now 10 TB 3.5-inch HDDs involves the introduction of a few technologies such as shingled magnetic recording (SMR) and hermetically sealed He-filled hard disk drives. SMR involves the partial overwriting of a previously written track by a new track, reducing the effective track width of the prior track. As a consequence of SMR the effective track density of a HDD can be increased at the cost of not being able to do direct overwrite of previous data. Creation of a hermetically sealed HDD
• TECHNOLOGY • full of helium rather than air allows packing more disks into the HDD and thus a higher capacity in the drive. Recent announcements of a 3 TB 2.5-inch HDD show that these HDD form factors are increasing in storage capacity as well. Both 2.5-inch and 3.5-inch HDDs benefit from the increasing areal density technology. The SMR technology probably cannot add too much more to areal density growth and putting helium in a hard drive can only allow adding so many more disks to a drive. Higher storage capacities require the introduction of new digital storage
technology. The Advanced Storage Technology Consortium (ASTC), a roadmap group for the HDD industry, released the 2014 roadmap for HDD areal density (the amount of digital storage that can be stored on a given surface area of a HDD). According to the ASTC road map shown in Figure 2 Heat Assisted Magnetic Recording (HAMR) should be introduced into HDDs by 2017, increasing the average annual areal density growth rate to 30% (it is currently about 15%). Interestingly, the roadmap shows that a technology called bit
patterned media (with the magnetic media broken into small regions on the disk surface) will be introduced about 2021 combined with SMR or an extension to SMR called Two Dimensional Magnetic Recording (TDMR). This will be combined with HAMR, which will result in up to 10 Terra-bit per square inch (Tbpsi) areal densities by 2025. Note that today’s shipping HDDs have an areal density as high as 0.86 Tbpsi. This implies that a 3.5-inch HDD built with that technology in 2025 could have about 10X the capacity possible today, or 100 TB.
Figure 2. IDEMA ASTC HDD Areal Density Roadmap
The Future of Digital Cinema Storage The size of digital storage devices used in digital cinema is important because the digital storage requirements are increasing. Current digital cinemas show 2K and 4K content but in the future even higher resolution formats
may be used, sometimes in combination with 3D. The below table compares the resolution pixel count and frame rate estimates for 2K, 4K and possible 8K content. Resolution (and thus the number of pixels), frame
rate and the colour depth of the pixels are all factors in the total size of a digital cinema file. There is work in the industry to develop 8K X 4K video that may be introduced into theatres after 2020.
• TECHNOLOGY • Example Resolution, Pixel Count and Frame Rates for Digital Cinema Formats Format
Resolution (Width x Height)
Pixel Count (Megapixels)
Frame Rate (fps)
Digital Cinema 2K (4:4:4, 12-bit)
2048 x 1080
Digital Cinema 4K (4:4:4, 12-bit)
4096 x 2160
Digital Cinema 8K (4:4:4, 16 bit)*
7680 x 4320
As the size of digital cinema content increases with higher resolution and higher frame rates, having more storage capacity available for a lower price can be an important consideration.
This is about a 2:1 difference in average data rate, favouring the 3.5-inch drives. Digital cinema files are generally between 100 and 500 GB in size depending upon resolution and whether it is 3D or 2D. Although data rates in digital cinema are currently as high as 500 Mbps, for video alone, DCI files are reconstructed from multiple blocks of data and additional bandwidth is needed to combine them together.
In addition to larger size content with higher pixel count and higher frame rate with higher resolution content, the data rate requirements are greater as well. 3.5-inch HDDs, such as those that can be used in an external storage system supplying content to a digital cinema IMB, generally have a higher data rate
In addition, if multiple video streams come out of one storage system, the required bandwidth is multiplied. Thus 3.5-inch HDDs can be a better choice for high-resolution rich media content than 2.5-inch drives, particularly as the content resolution increases or if multiple video streams are necessary.
3.5-inch HDDs will be a key to contain and display such high resolution, large sized content because of their higher storage capacity and data rate.
their reliability and longevity. Using external storage also allows using 3.5-inch rather than 2.5-inch HDDs, which have higher capacities and data rates more suited to higher resolution video content streaming. As HDD technologies develop they will be able to support future video content with higher resolution, greater colour depth and higher frame rates.
*“Super Hi-Vision” Video Parameters for Next Generation Television, SMPTE Motion Imaging Journal, May/June 2012, P. 63-68
An external storage system feeding content to an IMB can be larger than one built into the IMB, since space outside a projector is less constrained that inside the projector. This allows more disk drives to be used and also allows higher capacity 3.5-inch rather than lower capacity 2.5-inch HDDs to be used. All the HDDs built into IMBs are 2.5-inch HDDs due to the limited space available in digital projectors. As we discussed earlier, using 3.5-inch rather than 2.5-inch HDDs allows more storage capacity and a lower $/TB price. As a consequence, an external HDD storage system serving encrypted data to an IMB with 3.5-inch HDDs can provide higher reliability, easier upgrades
than the 2.5-inch HDDs integrated within some IMBs (over 1 Gbps for 3.5-inch versus about 500 Mbps for 2.5-inch HDDs). This is due to the higher rotational speed resulting from higher radii for 3.5-inch disks and the higher RPM on these drives (7,200 RPM) versus most 2.5-inch disk drives (5,400 RPM).
and greater storage capacity for a lower price than is the case for HDD storage within an IMB.
Conclusion Higher capacity on each disk in a HDD is important for digital cinema as fewer disks can be used to achieve a given storage capacity. Also the overall size of digital cinema files is likely to increase with the introduction of higher colour depth in cinema display files as shown in the table, along with higher frame rates and higher resolutions. Larger cost effective storage devices, such as
Using external HDD storage connected to a digital cinema projector, rather than HDDs built into the Integrated Media Block (IMB) allows these HDDs to operate at lower temperatures, thus improving
About the Author Tom Coughlin, President, Coughlin Associates is a widely respected storage analyst and consultant. He has over 30 years in the data storage industry with multiple engineering and management positions at high profile companies. Dr Coughlin has many publications and six patents to his credit. He is also the author of Digital Storage in Consumer Electronics: The Essential Guide, which was published by Newnes Press. Coughlin Associates provides market and technology analysis as well as Data Storage Technical Consulting services. Tom publishes the Digital Storage Technology Newsletter, The Media and Entertainment Storage Report, and other industry reports.
• TECHNOLOGY •
Michael's Green Paper Michael Karagosian speaks about the motion picture industry’s transition to digital cinema, the most significant transition in motion pictures since the introduction of sound. In this issue, he speaks on uniformity, specifications, and standards, and on the anti-piracy methods of cinema.
On Uniformity, Specifications, and Standards
Specifications do not have a long history in cinema. The DCI specification is the one specification for cinema that successfully emerged to encompass the whole market. Otherwise, specifications are generally limited to branded experiences. Think Cinerama, IMAX, Dolby Cinema.
The history of cinema technology is full of innovation, rarely leading to uniformity in distribution. As an example, ponder why the industry has settled on two aspect ratios for picture. Sound has its own rich history of innovation, largely based on proprietary technologies. Bypassing in this discussion the rich history of sound that preceded it, it was Dolby’s use of matrixed audio on noisereduced stereo optical sound tracks that brought four-channel sound to thousands of cinemas, driven by the low cost to produce the print. Dolby’s monopoly was tolerated for a few reasons: multi-channel sound was popular with audiences, offering an experience beyond the typical home stereo, and the intellectual property for the technology wasn’t bulletproof, encouraging competition. The only standards that emerged to insure interoperability in distribution were those that dictated where the optical sound tracks were to be located on the film. There were no standards for how those optical sound tracks were encoded.
Standards are possibly the most misunderstood in cinema. This could be from their relatively short history. Standards in cinema existed prior to digital cinema, but only to dictate where sprocket holes were to be, and placement on the film of image and sound. The past decade of cinema standards are often associated with uniformity, but an examination of cause and effect shows that specification plus money led to uniformity, and standards played little role in it.
Digital 5.1 sound for film emerged in the 90’s, again with proprietary technologies. A host of new entrants hoped to duplicate Dolby’s earlier success by introducing new digital technologies for 5.1. Dolby, DTS, and Sony are the technology providers most people remember from those days, but there were others. This was a particularly messy period while multiple formats could not be printed on a single film print, leading to inefficiency in distribution. The situation was not
The concepts of uniformity, specifications, and standards can be confusing. Particularly in cinema, where there was a bubble of activity in standards and specifications over the past decade that led to uniformity. A long time reader recently asked me to explain my views in these areas. Uniformity results from the distributor desire for efficiency in technology. Exhibitors are less concerned about uniformity, and more interested in competitive and fair pricing of equipment. Any concern for uniformity comes from the need to have access to content, which could be limited through a restriction in distribution. Somewhat paradoxically, neither party wants to be locked into a monopoly, either.
much different from what we have today. Even when a single print was possible that could support all three digital sound formats, the cost of multiple encoding, quality control, and yield loss didn’t bring more love to proprietary technologies. As with optical sound tracks, there were no standards for how digital sound was to be encoded for film. There were no specifications, nor was there uniformity. By the time discussion of digital cinema began in the late 90’s, distributors and exhibitors were geared up to avoid all proprietary technologies. A standards committee – the first of its kind for cinema – was formed in 2000. Recognizing that tighter control would be needed over technology, Digital Cinema Initiatives was formed by the then seven major studios. It was DCI that made the call for royalty-free JPEG2000 image compression and 16 channels of uncompressed audio. It wasn’t the most popular decision, as manufacturers at the time were building products using MPEG2 image compression and 8 channels of sound. But DCI could make its decision stick as it would be the studios that would subsidize the purchase of equipment, eventually to the tune of $4B or more. SMPTE standards that reflected these decisions emerged after. This is an important point. It was the DCI specification backed by studio subsidies, and not SMPTE standards, that led to the uniformity we now have in cinemas around the world.
• TECHNOLOGY • The fact that SMPTE standards are not responsible for uniformity contradicts the understanding of many people in the industry. As an example of how ineffective SMTPE standards can be at creating uniformity: consider SMPTE ST427 Link Encryption, a standard introduced by Sony for use with digital cinema projectors. Presumably Sony felt the need to create its own link encryption so as not to use the one employed by TI projectors. But Sony didn’t need a standard to do that. If Sony executives felt that standardizing its link encryption would pressure TI to adopt it, they failed. DCI avoided any specification of link encryption, and didn’t really care as long as the method used passed the muster of its security experts. Likewise, there is the now infamous example of SMPTE DCP. Interop DCP exists because distribution executives don’t really care about SMPTE standards. At the launch of the digital cinema rollout, they were much more concerned that they could meet their company timeframes for eliminating film distribution, and non-standard Interop DCP was the technology that satisfied that requirement. While in the early days of digital cinema there were cases where a movie was withheld from an exhibitor because the equipment didn’t meet DCI (such as forensic marking), no movie has ever been withheld for not meeting a SMPTE standard. We’re now in the post-digital-rollout phase for cinema. The bubble of the transition is past, and the uniformity it brought is waning. Studios no
longer offer subsides that would give them clout to dictate a single way of doing things. And innovation is beginning to blossom. The industry is reverting to normality, where proprietary technologies drive change. This can be seen in laser projectors, high frame rates, the emerging potential for variable frame rates, and the multiple sound technologies that led to the question that instigated this report. I’m asked why in this new environment can SMPTE not control the market by standardizing only one way of doing things. The answer is quite simple: SMPTE has no power of its own to dictate behavior in the marketplace. Not only does it have no power, but any attempt within SMPTE to advantage one company over another introduces anti-trust concerns. Distributors can attempt to enforce uniformity, but their bank accounts usually get the better of them, opting instead for widest footprint for their movies. The only hope uniformity has is a self-imposed restriction in buying pattern by buyers all over the world. But the odds of that happening are no different than that of world peace. One can guarantee with 100% certainty that buyers will never agree to limit their choices, particularly when its their own money that decides. If uniformity is the result of mixing specifications with money, then what’s the role of standards? Even SMPTE has a difficult time with this question. A SMPTE committee is now struggling to decide how to handle multiple immersive sound technologies, as if standards alone dictate how the market
operates. The struggle misses where SMPTE’s value lies. Standards alone may not lead to uniformity, but they are useful to buyers, as standards imply not only that a technology is stable, but that competitive manufacturers can supply it. It also means that the details of the technology have received peer review, a valuable point to all parties. Even when a manufacturer submits a complete work for standardization, it may be surprised to find that there’s room for further polish. The committee for immersive sound is weighing two technologies from two companies. It should standardize both. Any effort to block one or both companies from standardizing its technology not only steps into the muck of anti-trust, but deprives both company and buyers from the substantial benefits of the standardization process. Marketplace decisions take place in the marketplace, not in standards committees. As demonstrated by the digital cinema rollout, uniformity requires more than standards: it requires a specification backed by money, the combination of which is no longer on the table. If standards are to be useful, then cinema standards bodies must recognize where the value of their efforts lie. That value is not as a controlling force in the marketplace. As cinema reverts to its historical pattern of innovation through proprietary technology, standards committees must either act responsibly, or simply be ignored. SMPTE should not forget how small its role was in cinema technology before the subsidized transition to digital projection took place.
The Anti-Piracy Methods of Cinema If you can see it, you can copy it. When it comes to anti-piracy methods in cinema, this is an inescapable fact. Digital cinema takes great care to ensure that the light emanating from the lens is the only opportunity for stealing the movie. This report provides an overview of the methods employed in cinema to limit content theft. Most readers are aware that a Key Delivery Message (KDM) is needed to decrypt a movie on a particular
media block. The DCP consists of many files, each file representing one type of essence, such as picture, sound, or subtitles. Further, the essence files are temporal in nature, meaning that each file typically contains only a time-slice of the movie. To provide some organization to the collection of files, the same time-slice is applied to each essence type. We call each time-slice a “reel,” as in a reel of film, the analog of the time-slice concept.
The content owner has the option to encrypt the files of its choice. Typically, all of the files will be encrypted. Each file is encrypted using a unique symmetrical key. Symmetrical means that the key that encrypts the content is also the same key that can be used to decrypt it. The collection of symmetrical keys are then encrypted using an asymmetrical key called a “public” key. Contd. on Page TW-37...
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World's Oldest Cinema’s Seating Refurbished
Having featured the "historical monument" Eden Theatre in the July-August 2015 issue, TheatreWorld presents Quinette Gallay, the designer and manufacturer of chairs for cinemas and performing arts, which transformed the seating at the world's oldest cinema! TheatreWorld featured the historic Eden Theatre in its July-August 2015 issue (Eden Theatre: World's First Cinema Since 1889). Raghavendra T, Editor-Publisher, TheatreWorld had visited this cinematic glory to bring you an exclusive and first-hand rendezvous with the cultural heritage in the Southern French city of La Ciotat. This issue, we present Quinette Gallay, the designer and manufacturer of chairs for cinemas and performing arts, which transformed the seating at Eden Theatre and helped the cinema regain its past lustre! Built as a theatre and music hall in 1889 and situated in the picturesque La Ciotat, southern France, Eden Theatre is the oldest cinema theatre still in operation. In fact, the theatre is now classified as a "historical monument". This is the very theatre where Lumière brothers screened one of their first moving pictures The Arrival of a Train at La Ciotat Station (L'Arrivée d'un train en gare de La Ciotat) - at the close of the 19th century. One of the famous legends associated with the theatre is that the audiences got so terrified by
the moving images of the steam locomotive that some of them leapt from their seats to flee the train. The theatre closed in 1982 following the untimely death of its owner. Abandoned for years, the heritage building deteriorated but cinema and theatre enthusiasts were persistently keen on reviving the place. Many art connoisseurs and associations pitched in money to finally rehabilitate the historical theatre. Other regions of France united with La Ciotat in order to preserve what belongs to the world heritage of cinema. In 2013, a renovation project was scheduled and the largest professionals came into picture; one of them is the designer and manufacturer of chairs for cinemas and performing arts, Quinette Gallay. Founded in 1947, Quinette Gallay designs, manufactures and installs chairs for auditoriums, theatres, cinemas and the convention centres. Collaborating with architects, stage designers and technical directors, it supplies the most prestigious venues worldwide. Its strengths: adaptability
and innovation. For 70 years, Quinette Gallay has built a global reputation by participating in numerous projects and refurbishments of theatres and cinemas around the world. It was but natural for Quinette Gallay to be selected for the renovation of the Eden Theatre. Quinette Gallay was responsible for providing new chairs at the ground floor and renovate those at the balcony at Eden Theatre. The French company was proud to bring its knowledge and expertise to this historic hall. Quinette Gallay provided 167 seats of JET model, installed at the parterre while preserving the essence of the place. These are mounted on rails to allow for movable rows that stack at the rear of the hall. This movable solution allows space saving and a multipurpose use of the room. The choice of JETs on rail helped the
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venue to offer once again one of its historical functions: to welcome and house dancing balls. The choice of the JET chair was made by combining new technologies and respecting the expectations of future patrons. Due attention was paid to the morphological evolution of the population, thus adapting and modernising the chair to ensure optimum ergonomics. The second part of the works involved the renovation of the
balcony's 56 seats, as per the original design. It is the particular expertise of the company that enabled this work of precision and conservation. To undertake this delicate mission, Raphael Bianchi, Head Refurbishment & After-Sales at Quinette Gallay, explains the methodology: "All the balcony, chairs were dismantled, knocked down and shipped in parts to our workshop near Paris. Properly preserved pieces were recovered and cleaned. Seat foams were replaced
and vinyl leather upholstery was chosen over velvet fabric for ease of maintenance. Once the 56 chairs were refurbished chairs, they were shipped back to Eden Theatre. On site, with the support of an up-dated CAD layout plan prepared by the company beforehand, the replacement was done following the original setting." Quinette Gallay, together with the other professionals involved in this project, has enabled Eden Theatre regain its past glory.
...contd. from Page TW-35 (Michael's Green Paper) With asymmetrical encryption, two keys are employed to encrypt and decrypt, typically called “private” and “public” keys. In the digital cinema case, the public key of the media block’s digital cinema certificate is used to encrypt the symmetrical content keys. Only the private key of the media block can then be used to unlock the symmetrical keys. Once unlocked, the exposed symmetrical keys can be used to decrypt the content for playout. The unlocking of keys in the KDM and the unlocking of the movie itself are performed in the secure processing block within the media block. The secure processing block is tamperproof. An attempt to break
into its perimeter will cause erasure of the digital cinema certificate private key and any exposed symmetrical content keys. As one can see, this is a very tight security system. Anyone interested in stealing the movie will expend a lot less effort using a camcorder to steal the light that comes out of the projection lens and onto the screen. One may be able to steal light from the lens, but not without risking detection. The image and sound captured by a camcorder will be forensically marked with the time of day and the identity of the media block used to play the stolen content. Content owners, upon
discovery of pirated copies of their movies, decode the forensic mark and turn over the information to investigators. The investigators then apply other forensic science techniques as they carry out the criminal investigation. First release motion pictures are highly valued, and the security of this content in digital cinema is taken very seriously. Strong encryption and security management techniques are applied to ensure that digital files cannot be copied. The only way left to steal a movie is the camcorder, but forensic marks will not allow one to do so imperceptibly.
A Grandiose Multiplex The aesthetically designed 6-screen Cine Grand multiplex at CCS Mall in Sofia has become a favourite movie destination among the discerning audiences of Bulgaria.
• INSTALLS • City Center Sofia (CCS) Mall in Sofia, Bulgaria now has an exclusive multiplex with the six-screen Cine Grand! One of the favourite movie viewing destinations among the discerning audiences of Bulgaria, Cine Grand multiplex has a vibrant and contemporary décor with warm and trendy interiors. Bulgaria is among the European countries with the greatest number of shopping malls. And Cinegrand is a global Cinema Exhibition Company having more than six decades of domain experience of executing, managing and operating over 1500 screens. It is the first exclusive cinema multiplex by Cinegrand in Sofia.
Key Features The six screens, with a total capacity of 1258 seats, include a Tsar Lounge and a premium seating theatre which adds to the five-star ambiences. The cinema has been planned as per new trends by giving walk-in entry into cinema lounge. Tickets are checked at each cinema entry door so that one can enjoy the lounge ambience even if one is not going to view movie. The box office is planned next to the entrance so the visitors can enjoy eyecatching ambience comprising of 5 LED screen display with red duco painted band lit from all around and with beige coloured hard surface on front counter. The unique ceiling, originating from the entrance area and spreading all
over the multiplex lounge, leaves a lasting impression. The yellow indirect cove lighting in the ceiling, made of graphical shapes, adds to the dramatic effect of the ceiling. Concession front counter has red duco painted band lit from all around and with beige coloured hard surface on front counter. The five-star experience is simply unique in the royal Tsar Lounge and Cinema with fully reclining seats and personalised services at every seat so that guests can experience the savoury treats from the wide food and beverage menu. A lounge with well-equipped bar has been designed to provide the right ambience for the guests to relax and enjoy with family and friends before settling down for the movie experience.
High on Aesthetics The c-shaped ceiling in front of the concessionaire is planned to give a special focus to the concession area. Indirect lighting in the red graphical slits adds to the beauty of the curved ceiling, which is supported by the row of elliptical shape columns. The existing rectangular columns had been converted into elliptical shape columns by cladding with silver colour ACP sheets. From cladding walls, golden-tinted mirror to indirectly lit graphical ceiling, every nook and corner of the multiplex spells aesthetics and elegance.
â€˘ INSTALLS â€˘
Tsar Lounge and Cinema The Tsar lounge and cinema has been designed to give a privilege feel to the patrons. The Tsar lounge ambience is totally different from the cinema lobby area. It has a rich and warm feel achieved by use of soft carpet on floor, veneer cladding on column with glass beaded chandelier around and copper shade tinted backlit mirror panelling with unique graphics on walls. The entire glazing area of the lounge has full length glass beaded curtains to add to royal ambience. The copper shade mirror panelling is designed to give a feel of wider space. The wave shape ceiling fins are designed in such a way that it not only adds beauty to the whole ambience but also to lend continuity to the space.
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elliptical in shape and the material is silver brush finish aluminum composite panels, which are long lasting needs zero maintenance. Concession and box office counters, and wash room vanity counters have been cladded with very tough corian make solid surfaces
Graphics designed for backlit mirror are truly eye catching. The bar counter façade has been designed with yellow backlit glass. Tsar cinema interior matches with the warm and elite feel of the lounge. It has wall panelling in deep yellow fabric.
different materials to form the background of the space and red shade is used only in accent design features like red duco painted bands around concession and box office front counter and indirectly lit slits in graphical shape in c-shape ceiling in front of concession area.
Colour & Lighting Scheme Yellow, being the brand colour of Cinegrand, has been prominently used in the form of light. The entire colour scheme is well balanced by use of ivory and coffee shades in
Sustainable Use of Materials The material used for flooring is vitrified tiles and granite, which is cost effective and sustainable material. The column cladding is
Theatres 1 to 5 have well designed and very comfortable push back seats with great foot space. Tsar cinema has 176 degree fully reclining seats to pamper the patrons. The acoustical panelling is comprised of glass wool sheets and gypsum boards. The fabric has been fixed with grippers to give neat and clean look. The multiplex is fully equipped with 3D digital system in all its auditoriums and offers an immersive viewing experience. For an excellent viewing pleasure, it has silver screens for unmatched picture quality and exceptional surround sound, which adds value to the extravagant movie watching experience of the customers.
Prakash Gore & Amita Gore The Duo behind the Spectacular Look of Cinegrand Prakash Gore Amita Gore Architects was established in 2005 by architects Prakash Gore and Amita Gore. The firm offers complete services for architectural and interior designing in commercial and residential spaces. The endeavour to convey both the philosophy and creative energy that go into evolving a space is their mainstay.
halls into multi-screen complexes. Their designs incorporate the latest technologies, best presentation and sound, and lobby planning strategies that can maximise revenues from café areas, bars and food concessions.
They specialise in multiplex cinema design; restoration, renovation and refurbishment of cinema theatres, and the conversion of large cinema
leading multiplex chains such as PVR Cinemas, Fame Cinemas, Big Cinemas, Cinemax, Cinepolis, Cinegrand and Carnival Cinemas.
They have successfully completed several projects in India for
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Switzerland's Largest Screen Operating under the Arena Mega brand, the Arena Cinemas cinema chain has installed a curved cinema screen spanning over 200m2 - the largest cinema screen in Switzerland to date. For projection technology, the company relies on Christie Duo with two Christie CP4230 projectors in dual projection. Since 2009, Arena Cinemas AG, one of the largest cinema chains in Switzerland, has gradually digitalised 30 of its 31 cinema auditoriums in Zurich (Sihlcity and Stüssihof), Geneva (La Praille) and Fribourg (Cap'Ciné) using Christie projection technology. The cinemas are now equipped with the CP4230, CP2230, CP2220 und CP2215 projectors from the Solaria range. As part of the upgrades, the largest cinema screen in Switzerland was installed in Auditorium 4 in Geneva and equipped with a Christie Duo dual projection system. A second Christie Duo dual projection system can be found in Auditorium 5 of Arena Sihlcity in Zurich. Christie Duo is a fully integrated and patented dual projection system. On-site technical integration was provided by Protronic AG, a longstanding partner of Christie's, which
has provided technical assistance for Arena Cinemas' digitalisation for several years. Both dual projection systems - consisting of two Christie CP4230 4K DLP Cinema projectors were installed with the Christie Duo deflection mirror, making it possible
to use a projection window. The upgrade also includes a Doremi ShowVault with IMB. The Christie Duo projection kit doubles light output, thus creating sharper, higherquality images both for 2D and 3D projections. Auditorium 5 in Zurich,
â€˘ INSTALLS â€˘ which boasts 505 seats and a 20 x 8m screen, now has a Harkness Spectral 240 silver screen and a lens distance optic of 1.45 - 2.05. Meanwhile, Auditorium 4 in Geneva, which has a 22 x 9.20m screen, was upgraded with a 1.8-gain Harkness Clarus screen and a lens distance optic of 1.13 - 1.66. "We've now achieved optimum light conditions for 3D projection in all Arena Cinemas according to DCI specifications," says Patrik Engler, Managing Director of Protonic. "From a certain screen width like in the two larger auditoriums in Geneva and Zurich, this is only possible using dual projection." For auditoriums with a screen width of under 8m, however, the new passive polarisation filter systems like Wave (MasterImage) are sufficient, Engler added. In Auditorium 7 in Geneva, which has a 14.3 x 6m screen, the company installed a Horizon (MasterImage) passive polarisation filter system. Engler says the difficulty with dual projection is finding a suitable projection window that won't lead to interference in 3D and also complies with all building regulations. "After a few tests, we finally found the perfect projection glass and could deliver the project to our customer's satisfaction." Markus Braun, Arena Cinemas' Head of Technology, is delighted with the
new possibilities afforded to him by dual projection: "The image brightness is really impressive, and not just in our daily film showings. We host around 200 events in our cinemas each year, and the two
larger auditoriums in Geneva and Zurich are especially sought-after. In these cases, we need equipment that can truly meet our guests' expectations." The events include film premieres and VIP premieres with Hollywood guests, which always take place at Arena Sihlcity, as well as company presentations and conferences with parallel sessions in multiple rooms. What's more, the Swiss cinema chain would like to introduce VIP lounges or other technical gimmicks like 4DX cinema screens with special effects or 3D audio. "We're always one step ahead in the industry; the cinemas of tomorrow won't just show films they'll offer an all-round multimedia experience for work and leisure. In Christie, we've found the perfect technical partner to reliably implement these ideas, while still keeping one eye on the budget," sums up Braun. September-October 2015
• CINEMA SYSTEM •
Washing 3D Glasses Made Easy! USHIO Cinema Solutions Washer & Dryer Unit for 3D Glasses is an all-inone system that washes, sanitizes and dries all 3D glasses in a short 4 min 30 sec cycle. Developed and built at their partner company Kooptech S.A., the unit features a unique function of fast drying at low temperature. Did you ever imagine, every time you are excitedly putting on the 3D glasses provided by cinema hall for watching a 3D movie, you may be risking your eyes to infections! If a media report is anything to go by, poor quality 3D glasses provided by theatres and fear of eye infections had forced Lucknowites to carry their own 3D glasses to the movies some time back! However, with cuttingedge innovations in cinema exhibition technology, movie-goers can always rest assured such fears are only short lived. USHIO Cinema Solutions Washer & Dryer Unit for 3D Glasses is one such innovation. Since its establishment, USHIO has developed its product technology to include a wide variety of services designed to meet precise needs also in the cinema field. Developed and built by smart engineers at their partner company Kooptech S.A., a unique centrifugal washer-dryer unit for 3D glasses is one example. The unit is recommended by Dolby and RealD as an approved system for the care of 3D glasses. The patented function of fast drying at low temperature is unique. The small, allin-one system washes, sanitizes and dries all 3D glasses in a short 4 min 30 sec cycle. The glasses are perfectly clean without watermarks, streaks or spots and are ready to be distributed to movie goers right after the cleaning is completed. The unit's low
temperature method is safe for all glasses and prolongs their lifetime. It is user-friendly, very effective and the repeatability process is amazing. The unit is a practical solution to problems such as spotting, drying or glasses melting? The unique centrifugal washer-dryer unit for 3D glasses solves all of these!
Product Features & Benefits •
Unique centrifugal washing and drying process
Cleaning liquid reaches whole surface of glasses
4 min 30 sec washing-drying cycle
Equipped with patented function of fast low-temperature drying
No watermarks or streaks on surfaces
No temperature damage, very safe process
No tedious hand drying of glasses anymore
Effectiveness and repeatability of process, independent from human factor
The operator has no direct contact with clean, sanitized and dried 3D eye wear
Low cost of operation
Available Accessory: •
Trolley for transport and storage of 3D glasses
Baskets for storage of 3D glasses
USHIO has earned its worldwide reputation by developing products that integrate state-of-the-art lighting technologies and designs with the specific application needs of its clients in a wide range of fields: from cinema projection, semiconductors and office automation t1o biotechnology or medicine.
11 - 15 October 2015 Queensland, Australia The year 2015 is a milestone celebration for AIMC. It's the 70th year! The 70th Australian International Movie Convention will host around 1,000 delegates from Australia, New Zealand, Asia and the US at Jupiters Hotel & Casino on Queensland's Gold Coast from October 11-15. The AIMC is hosted annually by NACO (National Association of Cinema Operators-Australasia). NACO Chairman Terry Jackman AM, says the convention is not only a valuable industry event for those working in film production, distribution, cinema exhibition and allied trades but also a significant event for the Gold Coast. "This gathering of key industry personnel has been happening for 70 years and every single year the event has been held in Queensland, with the majority hosted on the Gold Coast. This will be the seventh year we have been at Jupiters Hotel & Casino, where the convention migrated to in order to hold all activities under one roof", says Mr Jackman. "Jupiters provides a venue that allows delegates to easily move between the distributor screenings in the Jupiters Theatre, to the seminars and networking functions in the Pavilion
Ballroom and the Trade Show and lunches in the Pavilion Marquee", says Mr Jackman. Michael Hawkins, Executive Director of NACO, says the convention makes a significant contribution to the local Gold Coast and South-East Queensland economies, which he estimates at around AUD$1 million. He adds that the AIMC assists in the employment of many local industries including hotels, hospitality, couriers, printers, contractors and entertainers. AIMC Marketing and Sponsorships Manager, Christine Pitcher, says the support of many partner organisations makes the AIMC possible. "Every contribution of funds, equipment and personnel contributes greatly to our ability to provide a world-class industry event that we are very proud to present", says Ms Pitcher. "The Federal and Queensland Governments provide support through various funding bodies including Screen Australiaand Screen Queensland and we enjoy great support from the City of Gold Coast." Ms Pitcher acknowledged the significant effort and expertise required to ensure the presentations at the AIMC are world-class standard. The various Distributor Sessions will include an exciting array of upcoming trailers and movies for AIMC delegates including Twentieth
Century Fox release Bridge Of Spies. The finale of the 70th AIMC on October 15 will be themed "Bring Out The Colour" - a tribute to the evolution of motion picture technology over the years from black and white to sepia to colour.
Panel Discussions •
• • •
Trends in Entertainment Centre Design - The Future of Cinema is Here Putting Bums on Seats Demystifying Millenials Coca Cola Icon Creating Pop Culture Through Experiences
Other Highlights •
Preview of major studio and independent feature films slated for 2015-2016 release Exciting and entertaining local and international product reels of upcoming releases Australia's hottest stars, filmmakers and industry leaders at gala dinners and functions Focus on current issues facing our industry at the many seminars and forums Network with top industry executives at the many events AIMC trade show
12 - 15 October 2015 Florida, USA
One of the movie industry's biggest networking events, ShowEast is a special expo and convention that brings people from the industry together to celebrate cinema. With immense networking opportunities, dedicated social areas, fun-filled events, including the opening night reception, lunch and breakfast on the floor, ShowEast is more than a tradeshow. As box office revenue continues to climb, theatres are seeking ways to keep patrons coming back for more. Major circuits and independent theatres are constantly on the lookout for the next big thing to make their venues must-attend destinations with new trends, technology, concession products, marketing ideas, and in-theatre experiences. ShowEast is the best place to do business with the growing US and Latin American cinema exhibition and distribution markets to grow your bottom line. The attendees' profile includes: cinema owners/ operators, cinema managers, cinema marketing executives, cinema operations executives, concessions purchasers, equipment purchasers, film buyers/bookers, film distributors, film producers & filmmakers and marketing/media professionals.
Expo (October 12-14) will offer networking events on the Expo floor and meeting rooms and suites to conduct one-on-one business at your convenience. Exclusive hours on the Expo floor would ensure less overlap,
which means convention attendees can take advantage of more dedicated time to visit the Expo. You also have the opportunity to craft an Expo package to meet your needs,
objectives, and budget. You can create your experience with: • • • • • • • •
Booths Meeting Rooms Sponsorships Lightboxes Program Journal Ads Signage Blast Emails Online Marketing
Convention (October 12-15) includes educational seminars, Hollywood film screenings, product presentations, International Day for the Latin American market, and the Final Night Banquet and Awards ceremony hosted by Coca-Cola.
Exhibitors Acs Enterprises
Moving Image Technologies
Omniterm Data Technology
318 & 319
Callahan Digital Cinema
Plusrite Specialty Lighting
Premium Blend Cocktails
Camatic Seating Christie Digital Systems
212 & 213
Cinema Equipment & Supplies
Color Ad Packaging
Ready Theatre Systems
First Class Seating
Sony Digital Cinema
Sony Pictures Releasing
308 & 309
Gold Medal Products
High Performance Stereo
International Distribution and Marketing Presentations by the following among others:
TK Architects Inc
Integ Process Group
Ultra Stereo Labs
K Kernel Seasons
VIP Cinema Seating
Mobiliario Sa De Cv
Walt Disney Studios
Warner Bros. Pictures International Paramount Pictures International
ShowEast Product Showcase
Universal Pictures International
20th Century Fox International
Poolside Italian Dinner Reception
Social Media and Marketing Engaging Patrons to Come to the Movies Redefining Marketing in Your Digital Lobby International Roundtable - The Americas Opening Night Reception & Screenings Variety The Children's Charity Presentation Spotlight on EXPO 2015
Award Presentations Bingham Ray Spirit Award - Ted Mundorff, Landmark Theatres Al Shapiro Distinguished Service Award - Mark Christiansen, Paramount Pictures Salah M. Hassanein Humanitarian Award - Charley Moss, Bow Tie Cinemas Show "E" Award - Marcus Theatres
Pub Bin 604
International Awards Luncheon Rentrak's Latin American Box Office Achievement Award Universal Pictures International's FURIOUS 7 International Exhibitor of the Year - Mark Walukevich, National Amusements International Distributor of the Year - Pedro Rodriguez, President & CEO, IDC (International Distribution Company, LLC) International Star of the Year Martha Higareda
17 - 19 November 2015 São Paulo, Brazil
One of the growing cinema markets in the world, Latin America has its own conventionthe ExpoCine. After the huge success of the inaugural edition last year, all eyes are now set on ExpoCine 2015. This year, the event will have one more day in addition to 2014. Unlike the 1000 m² of the first edition, the event will feature 3000 m² and this will allow over 60 stands. At ExpoCine 2015, the distributors and exhibitors will have free entry and can bring along their representatives, whereas other market attendees have to pay an entrance fee. In addition, this year will feature a novelty: the VIP Passport, a special credential that will give the attendee the right to a package of special amenities and priority entry into all presentations. With this, the attendee need not wait in long queues or worry about the maximum capacity of the rooms because he/she will have a guaranteed place. Exclusive VIP room for attendees will make them feel relaxed and comfortable. The Passport also entitles parking, breakfast, lunch and dinner taken care of for the three days.
"This year we want to give more to our attendees. Adding one more day, the public can visit and talk with patience at all the stands and new deals can be struck in a day, besides exhibitors around the region can get an idea of what is coming in the future. That's the main objective of ExpoCine: help our local industry get to the future sooner than later," conclude Marcelo Lima. With over 1400 attendees, ExpoCine convention is the third largest business event in the world in terms of number of attendees. Four major Hollywood studios (Disney, Paramount, Fox and Warner) attended the event and presented their future releases last year. A tradeshow of prominent suppliers of services and products for the exhibition industry was also held. There were 32 companies displaying their products for small, medium and large exhibitors. In its first quarter of this year, the tickets sales grew by 18.1% in comparison to last year only in Brazil. "This is a growing region and small and medium exhibitors of our industry sometimes don't have recourses to travel to CinemaCon or for any other great international convention to see the novelties. So
we decided to create one right here, in Brazil", said Marcelo Lima, CEO of Tonks, creator of ExpoCine. Despite being held in Brazil, Mauri Palos, manager of ExpoCine, reinforces the idea that the convention is for all the Latin America. "Last edition, exhibitors from countries like Chile, Bolivia, Peru, Uruguay, and Argentina attended the convention. This year, we expect even more players from other countries to come to the event". All the lectures will have simultaneous translation from Portuguese to Spanish. "The aim of ExpoCine is always to approximate the industry as a whole and we hope not to only maintain, but also surpass the expectations for the 2015 edition," said Marcelo Lima, CEO of Tonks. Companies worldwide understand the importance of the event and important players around the globe decided to sponsor the convention. Some of these include Christie, Dolby, Barco, MasterImage and Cinemark XD, IMAX and the Motion Picture Association (MPA).
15 - 21 November 2015 Kochi, India
All Lights India International Film Festival (ALIIFF), Kochi's mostawaited celluloid carnival and Indywood Film Market (IFM), South Asia's biggest film souk together present a premiere trade market and film festival for cinema professionals. The two announced the first Phase Line up including the Core Team, Advisory Panel, Expert Committee members and the so far confirmed Brand Ambassadors. Chief Minister of Kerala, Oommen Chandy is the patron for both All Lights India International Film Festival and Indywood Film Market. The Core team of ALIIFF and IFM includes the founder director and distinguished filmmaker Sohan Roy and renowned director B Unnikrishnan who is the General Secretary of AIFEC (All India Film Employees Confederation).
Velvet Rhodes, Indian filmmaker Dr. Bijukumar Damodaran, Managing Director of SBE's Hamilton(NY) International Film Festival, Grand Slater, Suresh Thati, Founder of Indian Film Festival Japan(IFFJ), founder Director of Imagine India International Film Festival Spain, Quazi Abdur Rahim, Founder of Piton International Film Festival(PIFF), Ed' Umoja, Festival Consultant and Programmer Rajat Goswami. ALIIFF 2015 will have leading artistes and technicians of international reputation attending the festival.
ALIIFF Brand Ambassadors
ALIIFF Advisory Panel
Veteran Malayalam actor Padmasree Mohanlal will represent the regional Malayalam Cinema at ALIIFF. Tollywood's Daggubati Venkatesh is the brand Ambassador for Telugu Cinema while Subodh Bhave from Maharashtra will be representing the Marathi Film Industry and films.
The festival's advisory panel comprises experts from film field like Bina Paul, International Film Consultant Hannah Fisher, National Award winning Assamese director Manju Borah, Film Federation's Secretary Supran Sen, actress cum director
Popular actor-cum-producer Prosenjit Chatterje is the festival's face for Bengali films and Bollywood's unconventional actress Kalki Koechlin has also been confirmed to serve as the brand ambassador for ALIIFF'S thematic showcase - 'Cinema for Care'.
ALIIFF- Jury Panel Iranian director Khosro Masoumi, Czech film journalist and festival programmer Radovan Holub, actress-cum director Ghazal Masoumi, Independent filmmaker from Israel - Dan Wolman, noted film journalist and researcher Uma da Cunha, Singaporean filmmaker Kan Lume, Indian writer-cumdirector Anjali Bhushan, Asian film critic and researcher, Andronika Martonova are confirmed so far to serve on the jury of All Lights India International Film Festival. ALIIFF's competition categories are comprised of International Competition for Feature Films, Documentaries, Documentary features and Short Films. Another International Competition category of the festival is Competition for Debut Directors. Czech and Slovak films will be screened in the Country Focus Section. Apart from these, All Lights India International Film Festival also has special thematic showcases on Cinema for Women, Cinema for Care, Cinema for Life, Cinema for Children and Musical films. ALIIFF Golden Frame Awards will
2015 11-15 OCTOBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au
12-15 OCTOBER SHOWEAST, FLORIDA, USA www.showeast.com
17-19 NOVEMBER EXPOCINE SÃO PAULO, BRAZIL www.expocine.com.br
15-21 NOVEMBER INDYWOOD FILM MARKET KOCHI, INDIA www.ifm.co.in
8-10 DECEMBER CINEASIA, HONG KONG www.cineasia.com
14-16 DECEMBER ISB EXPO, DUBAI, UAE www.isbexpo.com
2016 MARCH FRAMES, MUMBAI, INDIA www.ficci-frames.com
9-11 MARCH CHINA THEATER & CINEMA GUANGZHOU, CHINA www.gtcff.com
11-14 APRIL CINEMACON LAS VEGAS, USA www.cinemacon.com
20-23 JUNE CINEEUROPE BARCELONA, SPAIN www.cineeurope.net
23-24 AUGUST BIG CINE EXPO CHENNAI, INDIA www.bigcineexpo.com
SEPTEMBER KINO EXPO, ST. PETERSBURG, RUSSIA www.kinoexpo.ru
be presented to the winners of the festival.
Indywood Film Market Indywood Film Market, a high profile film souk, which features many international celebs and industrial stalwarts leading different sessions on various aspects of film business, will be held at Hotel Le Meridian (November 16-18). Attracting the big market players who look forward for coproduction deals with Indian filmmakers, aspiring buyers and sellers of films, the biggest holistic film market is expected to have the turnout of 3000 delegates, and more than 100 exhibitors. IFM is an array of activities where delegates buy, sell, exhibit and pitch their content The film souk will also be the venue for networking parties, well organized workshops, panel discussions and Trade Expos.
Uwe Boll, CEO of Matex Controls Marcin Michalski, Production Education Director for 3ality, Hollywood Film Editor Herb Dow, US based film director-cumproducer George Taweel, Marathi Film Director, Gajendra Ahire, and Indian Film Critic and editor Komal Nahta. Indian Film Distributor Rajesh Thadani and Consultant Producer Parvesh Sippy will be serving on the Expert Committee of Indywood Film Market.
HIGHLIGHTS ALIIFF Student Film Festival Screenings Micro, Short and Documentary Screenings •
Retrospective and Tributes
IFM - Advisory Panel
Creative and experienced personalities from the global film fraternity will be serving on IFM's Advisory Panel. The Panel is comprised of 18 members so far and they are Greg Agostinelli Vice President of Epica World, Attorney and owner of Cronkite and Kissel, New Integrated Business Development director John Caffera, CEO of Dimenco, Maarten Tobias, Founder and CEO of Auro Technologies, Wilfried Van Baelen, Publisher and Managing editor of Los Angeles based Animation Magazine, Jean Thoren, Hollywood Producer and Sound Mixer Stanley Johnson, Founder and President of Sandrew and Company- Barry Sandrew, Hollywood directorcum-producer Eric Sherman, Creative Director and Managing Partner of Tao Creative, Dean Bagg, Vice President of Dimenco Kai Liang, German Film Director
Viewing Rooms/Buyer Screenings
Film Finance Forum
Film Location Forum
Golden Frame Awards & Inywood Cine Awards •
Film Business Awards
Lifetime Achievement Awards
Red Carpet Nite
Other Events •
Festival Directors Forum
Indywood cocktail reception
Celebrity press conference
Corporate Movie Quiz
F U T U R E
R E L E A S E S
A glimpse of movies coming soonâ€Ś The Martian
Goosebumps Production 20th Century Fox
Production Columbia Pictures
Director Ridley Scott
Director Rob Letterman
Starring Matt Damon, Jessica Chastain
Starring Jack Black, Amy Ryan
Genre Action, Adventure
Genre Thriller, Adventure
Crimson Peak Production Universal Pictures
Production Universal Pictures
Director Danny Boyle
Director Guillermo del Toro
Starring Michael Fassbender, Kate Winslet
Starring Mia Wasikowska, Jessica Chastain
Genre Drama, Biography
Bridge of Spies
Pan Production Warner Bros.
Production Walt Disney
Director Joe Wright
Director Steven Spielberg
Starring Hugh Jackman, Garrett Hedlund
Starring Alan Alda, Tom Hanks
Genre Fantasy, Adventure
Genre Drama, Thriller
F U T U R E Room
Rock the Kasbah Production A24
Production Open Road Films
Director Lenny Abrahamson
Director Barry Levinson
Starring Brie Larson, Jacob Tremblay
Starring Bill Murray, Kate Hudson
Genre Drama, Comedy
Paranormal Activity: The Ghost Dimension
Production The Weinstein
Director Gregory Plotkin
Director John Wells
Starring Jay Hieron
Starring Bradley Cooper, Sienna Miller
The Last Witch Hunter
Genre Drama, Comedy
Our Brand is Crisis
Production Summit Entertain.
Production Warner Bros.
Director Breck Eisner
Director David Gordon
Starring Vin Diesel, Elijah Wood
Starring Sandra Bullock, Billy Bob Thornton
Genre Action, Adventure
Genre Drama, Comedy
Jem and the Holograms
Production Paramount Pictures
R E L E A S E S
Scouts Guide to the Zombie Apocalypse
Production Universal Pictures
Production Paramount Pictures
Director Jon M. Chu
Director Christopher Landon
Starring Juliette Lewis, Molly Ringwald
Starring Cloris Leachman, David Koechner
Genre Comedy, Horror
F U T U R E SPECTRE
R E L E A S E S The 33
Production Columbia Pictures
Production Warner Bros.
Director Sam Mendes
Director Patricia Riggen
Starring Monica Bellucci, Ralph Fiennes
Starring Antonio Banderas, Rodrigo Santoro
Genre Drama, Action, Adventure
The Peanuts Movie
By the Sea
Production 20th Century Fox
Production Universal Pictures
Director Steve Martino
Director Angelina Jolie
Starring Noah Schnapp, Hadley Belle Miller
Starring Brad Pitt, Angelina Jolie
Genre Animation, Family
Love the Coopers Production Open Road Films
Production CBS Films
Director Tom McCarthy
Director Jessie Nelson
Starring Mark Ruffalo, Michael Keaton
Starring Alan Arkin, John Goodman
The Hallow Production IFC Midnight
Production Magnolia Pictures
Director Corin Hardy
Director Rick Alverson
Starring Joseph Mawle, Bojana Novakovic
Starring Gregg Turkington, John C. Reilly
Genre Fantasy, Horror
F U T U R E Secret in Their Eyes
Production Shibu Thameens
Director Billy Ray
Director Chimbu Deven
Starring Chiwetel Ejiofor, Nicole Kidman
Starring Vijay, Sridevi Sudeep
Genre Drama, Thriller
Genre Action, Fantasy
Production Abhishek Pictures
Director Francis Lawrence
Starring Jennifer Lawrence, Josh Hutcherson
Starring Anushka Shetty, Allu Arjun
Genre Drama, Action, Sci-Fi
Singh Is Bliing Production Pen India Pvt. Ltd
Production Kamal Haasan
Director Prabhu Dheva
Director Rajesh M Selva
Starring Akshay Kumar, Amy Jackson
Starring Kamal Haasan, Trisha
Genre Action, Thriller
Production STX Entertainment
The Hunger Games: Mockingjay - Part 2
R E L E A S E S
Killing Veerappan Production Essel Vision
Production BV Manjunath
Director Sanjay Gupta
Director Ram Gopal Varma
Starring Aishwarya Rai , Irrfan Khan
Starring Shivaraj Kumar, Yagna Shetty
Genre Crime, Thriller
Genre Drama, Thriller
Published on Sep 30, 2015
Published on Sep 30, 2015
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