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MINDSHARE THEATREWORLD EDITORIAL

Kick starting the year on an encouraging note,

Issue # 73 March-May 2016

cinema industry continues to be a major source of entertainment for people world over. With innovations in technology, the audience is being treated to impressive cinematic experience through a combination of remarkable audio-visual and design elements. The industry is abuzz with R&D in immersive sound format and some industry leaders have succeeded such as GDC's DTS:X and Harman Lexicon's QLI-32. The year 2016 will witness massive product launches and CinemaCon is sure to emerge as one of the most happening platforms for the next-generation technology. This year, CinemaCon is poised to get bigger and better than ever before. Renowned world over for its unique brand equity, TheatreWorld brings its own expo for cinema exhibition industry - the 'Big Cine Expo' in Chennai, the central hub for cinema buyers in India. With lots of International, Chinese and local participation, this one is going to be the biggest expo in Asia. According to FocusEconomics survey, India has the highest GDP growth at 7.7 per cent (y-o-y) compared to rest of the world economy. Indian entertainment and multiplex industry is growing massively with good number of footfalls. There could be no better place for a grand event like the Big Cine Expo than Chennai, India!

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

Sandeep Mittal Founder Editor Publisher

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

Clancy D’souza Sales & Marketing +91 78753 29282 clancy@network208.com

Nisha M Subscription & Circulation +91 9902 208 208 info@network208.com Prabakaran R Online & Social Media Printing Ramya Reprographic, Bengaluru

PVR Cinemas reaches the 500-screen mark, becoming the first Indian multiplex chain to cross 500 screens. And looks like at least two more Indian chains will hit the 500-mark by 2017. TheatreWorld is once again the media partner at CinemaCon, Las Vegas, USA to be held between 11-14 April 2016 and FICCI Frames, Mumbai, India to be held between 30 March and 2 April 2016. See you all soon! Do not forget to pick TheatreWorld magazine copy at the shows!!! Raghavendra T Editor-Publisher DISCLAIMER - TheatreWorld Magazine does not warrant or assume any legal liability or responsibility for the quality, accuracy, completeness, legality, reliability or usefulness of any information, product or service represented within our magazine or web site. The information provided is for knowledge or entertainment purposes only. TheatreWorld Magazine does not endorse or recommend any article, product, service or information found within said articles or advertisements. The views and opinions of the authors who have submitted articles to TheatreWorld Magazine belong to them alone and do not necessarily reflect the views of TheatreWorld Magazine or its staff.

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Published by Raghavendra T on behalf of NETWORK208 013, Skylark Enclave, 5th Main, Jagadish Nagar, New Thippasandra Post, Bengaluru 560 075, India info@network208.com / www.network208.com

RNI # KARENG02795/10/1/2002-TC TheatreWorld is a quarterly publication, on the motion picture exhibition industry, for private circulation. It reaches out to subscribers, mainly theatre owners and trade professionals around the world. Additional copies are being promoted at major international industry tradeshows. TheatreWorld seeks the healthy promotion of the theatre industry through dissemination of useful information. Some of the information is compiled from industry sources, trade journals, company brochures for the benefit of readers, especially, theatre owners. TheatreWorld acknowledges with thanks the authors and publishers of these printed materials. Views expressed in the articles are those of the authors and not necessarily of TheatreWorld. TheatreWorld is a trademark under registration. The contents of TheatreWorld are under copyright registration. All rights reserved. Reproduction by any means in whole or part without written permission is prohibited. Unsolicited printed material is welcome but no responsibility is undertaken for the same and will not be returned. TheatreWorld does not take responsibility for the absolute accuracy of information published.


contents

This issue of TW has two sets of page numbers - International pages TW-1 to TW-64 for TW, and India pages TM-1 to TM-34 for TM. TM is inserted between pages TW-58 and TW-59 of TW.

TW-8

SPECIAL FEATURE TW-30 John Zeng China's Numero Uno in Cinema Entertainment

TECHNOLOGY TW-36

Understanding

ASIA TW-38 Michael's Green Paper TW-40 Turkish Cinemagoers Enjoy the Best Pictures TW-42 GDC Takes China by Storm

INSTALLS TW-44

TW-47

TRADESHOWS TW-50 Review TW-52 Review TW-55 Review TW-56 Preview -

Novo Cinemas

Expanding Footprints in Middle East

TW-58 Preview -

Ciné Grand

TW-59

F

U T U R E

R E L E A S E S

Showcasing South East Asian Films

TM-3

INDIA PLEXING TM-10

Capital Cinemas

A Trendsetter in Vijayawada TM-14

PVR Cinemas

Reinforces its Presence in South India

SPECIAL FEATURE TM-29 'Screening' the Future of India's Box-Office

TM-30 PV Sunil Spearheading the Carnival of Cinemas!

TM-17 Inox Strengthens Across India TM-18

Palazzo

Majesty of Italian Grandeur TM-20

DT Cinemas

An Out-of-the-box Box-office Hit TM-22 Miraj Forays into Telangana TM-26 Cinépolis’ Second Foothold in Chandigarh TM-27

Centerstage

A Multipurpose Auditorium at NSCI

CORRECTION NOTICE This is with reference to the Global Talk news ‘GDC Technology Brings the Latest Immersive Sound to Florida’s EPIC Theatres’ published in TheatreWorld November-December 2015 issue (page TW-12). The images shown of GDC’s SX-2000X is wrong and for the correct image more update, please visit www.gdc-tech.com. The error is deeply regretted and we apologize for the inconvenience.

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AMC Entertainment Holdings Names Adam Aron as CEO and President AMC Entertainment Holdings, Inc announced that the Company's Board of Directors has named Adam M Aron as Chief Executive Officer and President and a member of the AMC Board of Directors, effective January 4, 2016. Aron, 61, joins AMC with more than 20 years of experience as a CEO, and more than 35 years of consumer-engagement experience at some of the nation's leading hospitality and leisure companies. He replaces Craig Ramsey, who has served as Interim CEO since August 2015, following the resignation of Gerry Lopez. Ramsey will remain AMC's Chief Financial Officer, and will report directly to Aron. Aron is currently Chief Executive Officer and a member of the Board of Directors of Starwood Hotels and Resorts Worldwide, Inc. His career has included leadership of some of the world's most notable brands including airlines, hotels, ski resorts, cruise lines and professional sports franchises. He also served as a Senior Operating Partner of Apollo Management L.P. from 2006-2015. Apollo previously was part of an investor group which owned the then privately-held AMC Theatres. From 2006 onwards, Aron also led World Leisure Partners, Inc., a personal consultancy he founded. In addition to the Starwood Board, Aron currently serves on the Boards of Norwegian Cruise Line Holdings and the Philadelphia 76ers. Aron is expected to give up his seat on the Starwood Board upon joining AMC. He has an MBA with distinction from the Harvard Business School and a bachelor's degree cum laude from Harvard College. "Adam's background in producing results at traditional, consumerdriven, entertainment businesses

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makes him the person best positioned to lead AMC into the future," said Jack Gao, AMC Board Member and Executive Vice President of Wanda Movie Holding, which operates the Wanda Cinema Line in China and Hoyts Cinema in Australia. "Adam has demonstrated an ability to target capital investments, implement customer-focused innovations and organize his teams to drive incredible guest experiences that produce exceptional financial returns. We are confident that Adam's diverse experience, vision and focus will continue to elevate AMC in its pursuit to be the guest-experience leader in the theatrical exhibition industry." "The Board acknowledges the outstanding job Craig has done in keeping AMC moving forward during this search," said Gao. "Craig didn't hesitate to step up and provide the steady hand of leadership during this transition period. His industry knowledge and the confidence and trust AMC associates have in Craig have been invaluable. Craig, Adam and the associates of AMC will make a formidable team in the industry." "This is an incredible opportunity to lead one of the most recognized and iconic brands in the entertainment industry," said Aron. "AMC Theatres is at the forefront of developing customer-focused innovations at theatres across the country, such as plush recliner chairs and new sight

and sound technology. Even so, I believe we have the capacity to raise the bar even higher. In addition to further enhancing the movie-going experience at our theatres, of special interest is enriching AMC Stubs as a community for those who are fascinated by the allure of motion pictures. Having had the opportunity to lead teams elsewhere that have produced superior financial and customer results in other entertainment and hospitality industries, I am so excited now to lead the best team in the U.S. theatrical exhibition business. The opportunity to partner with other entities in the Wanda Group is also particularly intriguing. As a life-long movie fan myself, I am looking forward to winning with this team and amazing our guests."

AMC Entertainment Holdings Completes Acquisition of Starplex Cinemas AMC Entertainment Holdings, Inc , one of the world's leading theatrical exhibition companies and an industry leader in innovation and operational excellence, announced that it has completed its acquisition of Starplex Cinemas. Starplex owns 33 theatres with 346 screens in 12 states, primarily in small and mid-size markets. Included among the circuit are 90 recliner reseated screens, with AMC planning to convert an additional 80 screens to recliner seating over the next several years. "We are very pleased to welcome the Starplex Cinemas theatres into the AMC family, as we expand our guest experience strategy into new markets," said AMC interim CEO Craig Ramsey. "We welcome our new Starplex colleagues to AMC. We are


excited to add their talents and are proud of their shared commitment with our AMC associates to delivering a unique and high-quality guest experience. "This transaction adds a number of complementary non-urban and suburban markets to our portfolio, allowing us to serve a wider spectrum of guests while broadening our movie going appeal. We believe that through this transaction, we've created value for guests and shareholders through the delivery of innovative new amenities which is expected to deliver incremental revenue, earnings and operating cash flow and to position us for further growth."

Cinemark to Add Luxury Lounger Recliners to Harker Heights Theatre in Central Texas Cinemark Holdings, Inc, one of the world's leading motion picture exhibitors, announced plans to renovate their Cinemark at Market Heights movie theatre in Harker Heights, TX through the addition of Luxury Lounger recliners to all 16 auditoriums. The renovations for the theatre, located at 201 E. Central Texas Expressway in the Market Heights Shopping Center, will be completed by summer 2016. "This theatre has been an extremely popular destination in Central Texas since it opened its doors in the summer of 2008," commented Mark Zoradi, Cinemark's CEO. "With the addition of our new Luxury Lounger recliners, which feature electricpowered, plush, oversized lounge

chairs with footrests and cup holders, customers will enjoy an enhanced entertainment experience." Moviegoers can download the Cinemark app to view show times and purchase tickets on-the-go. Guests can also utilize CineMode, a feature within the Cinemark app, to earn rewards for being courteous to others during movies. Cinemark fans can stay connected through Cinemark's social media channels: Facebook, Twitter, Instagram and YouTube. Customers can also 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 Announces Grand Opening of New 14-Screen Theatre in Downey, CA Cinemark Holdings, Inc, a leader in the motion picture exhibition industry, opened a new 14-screen theatre in Downey, California, on December 11, 2015. Cinemark Downey and XD will feature Cinemark's NextGen cinema design concept, Luxury Lounger recliners, favourite concession items, and Cinemark XD. The new Cinemark is an anchor at The Promenade at Downey, located at 8840 Apollo Way; this historic spot is the former home of Downey Studios and the Apollo Space Mission. The multiplex will offer guests large wall-to-wall screens, enhanced sound systems, and digital presentation in every auditorium. The new complex represents the 22nd theatre and 13th Cinemark XD: Extreme Digital Cinema auditorium located in Southern California. "Cinemark continues to expand in Southern California and we're proud to launch our newest state-of-the-art theatre as part of The Promenade at Downey shopping center," stated Mark Zoradi, Cinemark's Chief Executive Officer. "Our new Luxury Lounger recliners and extremely

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popular XD auditorium are the perfect complement to Downey's rich history with Hollywood and the movie industry." Over the next few weeks, the new theatre will be exhibiting a variety of movies including Star Wars: The Force Awakens, Alvin And The Chipmunks: The Road Chip, Sisters, Creed And Concussion. At Cinemark Downey and XD guests will experience the comforts of a brand new NextGen theatre which boasts the latest cutting-edge technology and customer-preferred amenities including Cinemark Luxury Loungers that are electric-powered, plush, oversized recliners with footrests and cup holders; State-ofthe-art viewing environment with wall-to-wall screens available in all auditoriums; Cinemark XD: Extreme Digital Cinema auditorium. XD is the number one, private label Premium Large Format (PLF) in the world; 4K digital projection powered by Barco projectors; RealD 3D capability in several auditoriums; Enhanced, sound systems that will enable customers to hear the movie as the filmmakers intended; a cafeteria style concession stand; Online and kiosk ticketing available and reserved seating.

Wanda Cinema on the Growth Streak Wanda Cinema Line aims to add 40 theatres annually to reach 260 cinemas and more than 2300 screens by 2016. This way, it would secure the biggest share of Chinese market. Wanda Cinema planned public offering of 60 million new shares, to be listed on the Shenzhen Stock Exchange small plates. Wanda Cinema plans public offering of 60 million new shares, the total issued share capital of 56,000 million shares, to be small plates listed in the Shenzhen Stock Exchange, shares referred to as "Wanda Cinema", stock code 002739.


Golden Village Gold Class VivoCity Unveils New Ultra Luxurious Nappa Leather Seats

Vue International Announces launch of Vue Netherlands Vue International (Vue), the largest cinema group outside of the US, announced the launch of Vue Netherlands and the roll out of the Vue brand across the recently acquired JT Bioscopen estate. Vue acquired JT Bioscopen, the second largest cinema chain in the Netherlands on 21st August 2015. The acquisition was Vue's fourth international transaction in three years bringing the total number of sites owned and operated by Vue to over 200.

Golden Village brings luxury cinema viewing to another level with the launch of new cinema seats for Gold Class VivoCity. The new Barcelona recliners come clad with Nappa leather, the same material used by leading European automakers for their car seats as well as some of the world's luxury goods. Durable and smooth, Nappa leather retains the original blemishes and texture of the raw material from which it was derived. Invented by Emanuel Manasse, a tanner from California, Nappa leather is soft and pliable and does not retain moisture, making it perfect for Gold Class cinema seats. A total of 110 Nappa-clad Barcelona seats were acquired by Golden Village. The seats come fully contoured and provide ample support for the body, ensuring maximum comfort for all users. Cinema viewers can also adjust the footrest and backrest to their preferred angle. All seats come with built-in USB chargers. M Hafidz, the Assistant Manager for Gold Class Operations, says "The public has come to expect more from their cinema experience. The introduction of Nappa leather-clad seats at Gold Class is our brand's way of surpassing patrons' expectations of seat comfort. We will continue to introduce

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product offerings to improve the cinematic experience at Gold Class." Aside from the acquisition of new seats, Gold Class recently introduced new additions to its menu, such as truffle fries, Thai grilled chicken thigh and abalone udon. Those with a sweet tooth will be delighted to know that Gold Class now serves some decadent delights such as Reese's Chocolate Peanut Butter Pie, Key Lime Pie and Oreo Milkshake.

Major Care Foundation Board Visited Young Patients with Encouraging Gifts On the occasion of New Year, Vicha Poolvaraluk, Chairman of Major Cineplex Group Public Co Ltd and Chairman of the Major Care Foundation, visited young patients with gifts that included stationery set, crayons, colouring books, books, clothes, towels, teddy bears, hats and tableware Happy Meal Set Box (hamburger and milk) with a Happy Meal Toy doll from McDonald's. These were given to younger patients at Queen Sirikit National Institute of Child Health (Children's Hospital).

Vue Netherlands has 21 cinemas and 111 screens across 20 towns and cities. The entire estate will be re-branded with VIP seating also being installed throughout the course of 2016, starting with Alkmaar launching in February 2016. JT Bioscopen is the first of Vue's European estates to be rebranded Vue as the company's most recent acquisition. Tim Richards, Vue International Founder and CEO, commented: "We are committed to continued growth and delivering a premium entertainment big screen experience by owning, managing and developing the highest quality cinema assets around the world." The newly named Vue Netherlands operation 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-ofthe-art multiplexes in Hilversum, Hoorn and Eindhoven - which features the first Dolby Cinema laser projection technology system in Europe. Since 2012 Vue has acquired Apollo Cinemas, CinemaxX, Multikino, Space Cinemas and JT Bisocopen becoming the largest cinema group in Europe spanning ten countries with 209 sites, 1,859 screens and 8,500 staff.


Christie CP2208 Digital Cinema Projector Generates Record-Breaking Sales in China Christie, a leader in creating and sharing the world's best visual and audio experiences, announced that its high-value digital cinema offering, the Christie CP2208 digital cinema projector, has generated record-breaking sales in China since it started shipping in October. To date, Christie's valued partner Beijing Donview Technology Development Co., Ltd (Donview) has purchased over 500 units of this affordable and DCI-compliant projector, making it the bestselling cinema projector of its class in China to date. This is four times the amount of cinema projectors of the same class sold by a competitor in the Chinese market between October and December 2015. Aimed at theatres whose screen sizes are less than 10.6 meters (35 feet) wide that require an affordable solution in a compact footprint, the CP2208 is the latest in a long line of award-winning Xenonlamp based Christie Solaria projector solutions. The CP2208 is capable of delivering images at 9,000 lumens within the DCI colour space and up to 10,000 lumens when presenting alternative content. The Christie CP2208 can be ordered with a variety of lamp sizes and lenses, and allows feature film content to be displayed using the optional Christie integrated media block (IMB-S2) with improved performance or another popular Series-2 integrated media block (IMB) system using the open IMB slot. This helps to reduce exhibitors' overall system cost and increase overall system reliability. The Christie CP2208 also offers HFR upgrade capabilities and support for advertising and alternative content.

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Cine Center is First Latin American Customer for Dual 4K Projection Solution Bolivia's biggest cinema operator is the first customer in Latin America for Sony's high-brightness SRXR515DS 4K dual projection system for large screens. Cine Center has installed a total of four SRX-R515DS systems - with two systems now operational in the Bolivian capital La Paz and a further pair in Santa Cruz. Consistent growth has seen Cine Center established as the marketleading 4K cinema chain in Bolivia. In total, the forward-looking operator has installed over 50 Sony 4K projectors at sites across La Paz, Santa Cruz, Cochabamba, Quillacollo and Riberalta. Many of Cine Center's 4K screens are 3D-ready. In addition, projectors in several of its cinemas are controlled by Sony's Theatre Management System that handles playlists and scheduling for each screen from an intuitive PC interface. Cine Center owner Jordi Chaparro and President of holding company Grentidem Group has been a longstanding advocate of Sony projection technology: "I first experienced the astonishing quality of Sony 4K at our Megacine multiplex in Italy - and since then it's been the default choice for all our cinemas in Europe and Latin America.

Marburg Cineplex Impresses with Next-generation Sound Marburg Cineplex is Germany's first cinema to opt for the innovative Christie Vive Audio technology. The Cineplex in Marburg, Germany, has a history spanning more than 100 years. Formerly known as "Lichtspiele Marburg", the Closmann family now operates under the names Capitol, Cineplex and Kammerlichtspiele, with 14 cinemas in three locations. In these cinemas, years of tradition meet stateof-the-art technology. With its 465 seats making it the largest in the multiplex, Screen 4 of the Cineplex now hosts a new Christie Vive Audio sound system, installed to coincide with the James Bond premiere of "Spectre". Christie partner Ecco Cine Supply and Service GmbH from Hilden, Germany, was responsible for planning, delivering and installing the 7.1 surround sound system. The installation includes a CDA 5 amplifier and a LA4 line array speaker each for the left, centre and right. A CDA 7.5 amplifier and S215 subwoofer were used for the LFE channel. For side and back surround sound, they also installed CDA 5 amplifiers and LA4 speakers on the left and right. The unique properties of the driver technology provide accurate sound replication, allowing the audience to hear all the sound effects wherever they are sitting, throughout the heart of the action. Thanks to their specialized construction, the speakers are particularly quick to react to signals. Noise interference is cancelled out. The Cineplex cinema currently has 7 screens and around 1,700 seats, and it forms the heart of the business. In 2015, it celebrated its fifteen-year anniversary. Since then, it has welcomed eight million visitors - a huge number for a town with just 80,000 inhabitants. In the mid-90s, the family-run business became the founding member of the Cineplex Group, a network of mediumsized cinema operators.


CGV Becomes First Cinema Exhibitor to Install Christie RGB Laser Projection Christie, a leader in creating and sharing the world's best visual and audio experiences, announced that CGV, a subsidiary of CJ Group and South Korea's largest multiplex cinema chain, is the first exhibitor in the world to be equipped with Christie's revolutionary RGB laser projection system featuring even more wavelength diversity to countermeasure speckle on silver screens. The system consists of a Christie CP42LH 3DLP 4K RGB laser projector and laser modules that generate white light from multiple combinations of RGB primary colour wavelengths. This type of laser system provides better speckle performance than 6P systems when used with silver screens and passive polarization-based 3D glasses. It has been installed by Christie's Korean partner, Ray & Resources, at SphereX CGV Youngdeungpo in Seoul. CGV's SphereX is a specially designed, one-of-a-kind curved silver screen to maximize immersive 3D experience. The auditorium at Youngdeungpo has a 19-meter wide curved screen and 387 seats - resulting in a spectacular viewing experience with remarkable speckle performance. This is CGV's second auditorium in Korea to deploy Christie's pinnacle cinematic projection technology, following the installation of Christie's 6P laser projection system at CGV Starium in October 2015. Nochan Park, Senior Manager, Cinema Technology Team, CGV, commented, "Having experienced the impressive brightness and performance of Christie's 6P laser projection system in CGV Starium, we would like to implement this top-ofthe-range laser projection system in our SphereX auditoriums which are equipped with curved silver screens. After much deliberation, we have decided to deploy a Christie CP42LH laser projection system at SphereX CGV Youngdeungpo. It has been

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CGV’s SphereX is a specially designed, oneof-a-kind curved silver screen to maximize immersive 3D experience

optimized with additional laser modules to diversify wavelengths, with the objective of minimizing speckling for this technically challenging, custom silver screen when viewed with passive 3D glasses. This is by far the best solution possible for silver screens and we're very pleased with the results." The installation includes a state-ofthe-art Christie 4K laser projection head, RGB laser modules, a modular laser light farm with fiber-optic delivery, Christie integrated media block (IMB) and Network Attached Storage (NAS). This particular system is designed to achieve exceptional brightness in 3D with a light output of close to 40,000 lumens; and is easily upgradable in the future if more light is ever required. The CP42LH installed in SphereX CGV has been officially commissioned and commenced regular movie screenings December 24, 2015. "While our dual-headed 6P laser architecture has been proven as the

most light-efficient 3D technology on the market, we now offer a solution to address the issue of speckle when our laser projection system is used in theaters with silver screens and passive 3D glasses," said Henry Khang, general manager, Christie Korea. "By configuring the laser modules used for the projection system with even greater wavelength diversity, we can effectively overcome the issue of speckling on silver screens. As a result, exhibitors now have the option of using an existing silver screen without having to replace it when installing our laser projection system, which translates to significant cost savings." Lin Yu, Vice President, Christie Asia Pacific, added, "We're absolutely delighted that CGV has once again acknowledged the superiority and flexibility of Christie's revolutionary RGB laser projection system in delivering an unparalleled laser projection and viewing experience. With the world's first installation of our CP42LH at SphereX CGV Youngdeungpo that uses a curved silver screen, we have demonstrated the versatility of our laser projection system. We look forward to seeing more exhibitors installing our RGB laser projection system in their premium large format theaters, even if they are equipped with silver screens." Anchored by the Christie Freedom laser illumination system, the CP42LH produces 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 available. It consists of rack-mounted laser modules where each module can produce up to 5,000 lumens of light. Because of the scalability of this platform, up to 12 laser modules can be easily added, removed, activated or disabled depending on the brightness requirements. This provides up to 60,000 lumens per rack. Each laser module is also independently cooled, providing built-in fault protection, improved efficiency and ultimate reliability.


Broadway Kino Ramstein Installs Dual 4K Projection Solution Independent cinema operator Broadway Kino is enjoying industryleading picture quality and low running costs in Germany's first Managed Services customer agreement with Sony Digital Cinema 4K.

a 5-year Managed Services contract financed by affordable monthly payments. This gives Broadway Kino access to the latest 4K cinema projection hardware plus technical back-up, without costly upfront capital investment.

The ground-breaking deal sees Broadway Kino replacing older DLP Series 1 projectors at two of its six screens with brand new Sony SRX-R515DS 4K dual projection systems. Also featured in the 'all-in' agreement are 18 Sony BRAVIA Professional Displays - including 4K models - and a VPL-FHZ65 laser light source projector including all playback and control infrastructure to provide digital signage in the recently-refurbished theatre foyer and lobby areas.

The independent operator in Ramstein, south-west Germany is the country's second theatre to install Sony's SRX-R515DS dual 4K projection system after Cinecitta' Multiplexkino N端rnberg. Combining two SRX-R515 projectors into a single solution, the high-brightness and high-contrast DCI compliant system brings industry-leading Sony 4K picture quality in 2D and 3D plus low ownership costs to mid-sized and larger cinemas.

All hardware plus installation, technical support, maintenance and remote networked monitoring are provided by Sony under the terms of

"We're proud to be one of Germany's earliest adopters in digital cinema technology", observes Broadway Kino owner Ernst Pletsch. "Our first-generation projectors were

becoming an increasingly costly liability with limited service options, and we wanted to bring our screens up to date with the best possible 4K picture quality. Managed Services from Sony has allowed us to take the movie-going experience to the next level for our audiences on extremely attractive commercial terms." "The idea of a 'complete solution' is a phrase that's over-familiar - but that really is what we've created for Broadway Kino" notes Oliver Pasch, European Sales Director at Sony Digital Cinema. "As well as the unequalled image quality of our acclaimed 4K projectors, Managed Services gives operators the reassurance and flexibility of having absolutely everything covered in one simple agreement. It's transparent, it can be precisely customised to meet every exhibitor's precise needs - and it makes brilliant business sense for any cinema, large or small."


SM Cinema First in South East Asia to Use Christie 6P Laser Projection and Christie Vive Audio Christie, a leader in creating and sharing the world's best visual and audio experiences, announced that SM Cinema, a subsidiary of SM Lifestyle Entertainment Incorporated and the largest shopping mall and retail operator in the Philippines, the SM Group, has installed its revolutionary 6-Primary (6P) laser projection system and cinema sound system in the latest state-of-the-art movie theatre in the popular resort island of Cebu. Located within the new SM Seaside City Cebu mall, the cinema features eight halls, including the "Large Screen Format" auditorium that is equipped with a screen 30 per cent bigger than standard cinemas, and over 350 plush seats. This contemporary theatre hall is powered by the Christie CP42LH 3DLP 4K RGB laser projector, designed to achieve over 14-foot lamberts onscreen in 3D, and Christie Vive Audio, the cinema industry's only purpose built line array speaker solution. This makes SM Cinema the first cinema chain in Southeast Asia to deploy Christie's pinnacle projection and audio technologies. The auditorium has been officially opened for regular movie screenings. (Christie Vive Audio is installed in 10 other Asian countries as well). "The SM Seaside City Cebu is one of our most exciting theatres to date and the selection of Christie 6P laser projection and audio technology ensures that our guests enjoy the finest movie-viewing experience that is unlike any they've ever known before," said Edgar C. Tejerero, president, SM Lifestyle Entertainment Incorporated. "We had attended demonstrations of the CP42LH and Vive Audio at various trade shows and events, and are very impressed by the stunning 3D visuals and exceptional audio quality. We believe that this is the future of digital cinema and are fully committed to deliver the best cinematic experience to our guests. At the same time, we are proud to be the

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first cinema chain in the Philippines to be fitted with Christie's cutting-edge technologies." The installation at the "Large Screen Format" auditorium was undertaken by Christie's valued partner, Arraystech Digital Systems, Inc. The 6P laser projection system fitted comprises a pair of Christie 4K laser projection heads, a 6P modular laser light farm with fibre-optic delivery, Christie 4K 3D high-bitrate server, and a new premium white screen. The Christie Vive Audio components installed includes LA4 and S215 screen channel speakers,LA3S and LA4S speakers for wall surrounds, LA3C and LA4S speakers for ceiling surrounds, as well as S218 subwoofers for Low Frequency Effects channels. The system is configured to meet Dolby Atmos requirements resulting in a highly immersive cinema experience that delivers exceptional power and performance. "At Arraystech Digital Systems, we are committed to helping exhibitors

bring the magic of digital cinema to communities across the Philippines," said Aaron Del Poso, vice president, Arraystech Digital Systems, Inc. "Christie's complete cinema solutions are our top choice for installations because of their unmatched quality and reliability. We are pleased to work with Christie's technical team to equip SM Cinema's newest large screen theatre with the latest and most advanced cinema technologies so that the audiences in Cebu can enjoy the best visuals and audio available today." Lin Yu, Vice President, Christie Asia Pacific, commented, "We are very pleased that SM Cinema has selected Christie for its next-generation cinema projection and audio technologies and I'm confident that this 'all Christie' installation at SM Seaside City Cebu will deliver an unmatched cinematic presentation to movie-goers and help make SM Cinema a top destination for entertainment. I would like to thank the team from Arraystech Digital Systems for a job well done, and my heartiest congratulations to SM Cinema on the official opening of its latest cinema." Anchored by the Christie Freedom laser illumination system, the CP42LH produces 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 available. It consists of rackmounted laser modules where each module can produce up to 5,000 lumens of white light. Because of the scalability of this platform, up to 12 laser modules can be easily added, removed, activated or disabled depending on the brightness requirements. This provides up to 60,000 lumens per rack. Each laser module is also independently cooled, providing built-in fault protection, improved efficiency and ultimate reliability. Since its rollout last year, Christie's 6P laser projection system has become the preferred choice for a premium 3D cinema experience in a number of cinema chains around the world. Christie Vive Audio provides a hyperaccurate audio experience and unlocks the full dynamic range of the DCI digital cinema audio and is compatible with the leading immersive and surround audio formats in the market. 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. Christie Vive Audio system continues to establish its reputation worldwide as the next standard in immersive sound for cinema. Christie recently celebrated the 200th Christie Vive installation at Southern Theatres' Movie Tavern Flourtown 8 in Flourtown, Pennsylvania, while anticipating the sale of its 350th Vive Audio system by the opening of Star Wars Episode VII: The Force Awakens on December 18, 2015.

Chinese JinYi Cinemas' First AllLaser Multiplex in Asia Powered by Barco Barco, worldwide market share leader in cinema projection, announced that the Chinese exhibitor JinYi Cinemas will establish the first all-laser multiplex in Asia.

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center. "We believe Barco laser is the best choice as it not only enables us to offer a differentiating and superior movie experience to our audiences, we're also able to simplify our internal operations and drive our costs down."

Exclusively powered by Barco's complementary laser projection portfolios, JinYi will install a DP4K30L flagship laser projector and a wide range of laser phosphor projectors - launched at CineAsia last week - throughout its brand-new Guangzhou multiplex. By choosing laser, JinYi Cinemas offer a differentiating and superior moviegoing experience while simplifying their internal operations. JinYi and Barco share a long history of successful collaboration. The Chinese exhibitor was the first to deploy Barco's DP4K-60L flagship laser projector. Impressed with the projector's exceptional image quality and its success with the cinema audience, JinYi decided to rely on Barco again to turn its new venue in Guangzhou - slated to open in the next few weeks - into an all-laser multiplex powered by Barco's flagship laser and laser phosphor projectors. JinYi will deploy Barco's flagship laser projector (DP4K-30L) for its premium screen, as well as several laser phosphor cinema projectors for the other screens. "Barco laser is the pinnacle of cinema projection and we're overwhelmed with pride to be the first exhibitor in China to combine Barco's premium RGB and laser phosphor technology in our Guangzhou destination," comments Xu Shouwei, general manager of JinYi Cinemas project

"With more than 70 of our flagship laser projectors installed or committed, it's clear that exhibitors worldwide are moving to laser now and Barco is trailblazing the transition," says Stijn Henderickx, Vice President Cinema at Barco. "We not only provide the widest range of laser-illuminated cinema projectors in the industry, our portfolio is also fully complementary: the 6P flagship laser projectors for premium screens offer unprecedented image quality at an attractive total cost of ownership while our brand-new laser phosphor series for medium screens cut costs significantly and provide superior image quality." So far, a quarter of Barco's laserilluminated cinema projectors have already been deployed in the AsiaPacific region. Last week, Barco launched the DP2K-20CLP and DP2K15CLP laser projectors, the first of its broader range of laser phosphor projectors, including 2K and 4K projectors.

Barco Debuts First Escape Movie Theatre in Asia Barco and China Film Group (CFG) announced the installation of Asia's first multi-screen, panoramic Barco Escape movie theatre at the Changping AEON Cineplex in Beijing, China, one of the largest box offices in CFG cinema. A second Barco Escape theatre will open at CFG's United square Cineplex in Shanghai this December. The format debuts to audiences in China this month with 20th Century Fox's Maze Runner: The Scorch Trials film, which premiered #1 at China's box office.


IMAX Launches Private Theatre Business with More Than 80 Initial Signings IMAX Corporation announced that in the six months following the launch of the IMAX Private Theatre "Palais" (Palais), it has signed agreements for more than 80 committed systems. The agreements follow the June 15 launch of the first TCL-IMAX Palais showroom. Additional showrooms are scheduled to open in the coming months on the Chinese resort island of Hainan, Beijing, London, Los Angeles, New York and Dubai. The majority of the total systems signed to date comprise agreements with high-end luxury property developers in China. The first installations are taking place now, with the current backlog scheduled to install over the next three years. In addition to these larger-volume deals, the TCL IMAX joint venture has also signed multiple additional Palais agreements, including iconic

global installations in London and New York. "We are very encouraged by the strong initial Palais signings to date and the interest that continues to build for IMAX in a home environment among key developers, dealers and high-networth individuals," said IMAX CEO Richard L. Gelfond. "We've invested in this new line of business over the past few years and will continue to do so, based on the significant interest shown to date. We are encouraged by our results so far and - together with our partner TCL look forward to the launch of our upcoming showrooms and the broad roll-out of this impressive product." "We are pleased to have exceeded our initial signings targets for this important new venture," added IMAX Chief Business Development Officer Robert D. Lister, who is also Chairman of the

TCL-IMAX joint venture. "We are focused now on continuing to leverage the strong interest we are seeing in China, in particular, and on expanding our target markets, with an aggressive roll-out in the Middle East planned at the start of 2016."The IMAX Private Theatre "Palais" delivers IMAX's best-in-class projection and sound technology as part of the very first completely integrated home theatre system from a single holistic IMAX design and source. Features include sound isolation, acoustics, wall treatments, flooring, lighting, seating, and specialized, high-quality and unique audio-visual content provided by IMAX. IMAX China is a leading cinematic technology provider, the exclusive licensee of the IMAX brand and technology and the sole commercial platform for the release of IMAX format films in Greater China.


"We're honoured to partner with China Film Group to install Asia's first Barco Escape theatres, further signifying the format's ongoing momentum and global expansion since its 2014 launch," explains Todd Hoddick, CEO of Barco Escape. "CFG is a leader in the movie industry and we're excited to strengthen our longstanding relationship with them by bringing this immersive new cinema experience to audiences in China." "As a long-term Barco partner, we are pleased to be the first to install Barco Escape in China," comments Zhang Yanqin, General Manager of the Beijing division of China Film Group cinema. "As one of our most popular locations, the Changping AEON Cineplex is the perfect place to introduce moviegoers to this brand new experience our customers can only get by coming to the theatre." After debuting to positive reviews from audiences in fall 2014 with 20th Century Fox's The Maze Runner, Barco Escape announced a five-year, multi-title per year agreement with the movie studio to release more films in Barco Escape. "We started working with Barco on this technology because we believe immersive experiences are the future of cinema," says Chris Aronson, President of Domestic Distribution at 20th Century Fox. "Now that Barco has upgraded its Barco Escape systems to be fully DCI compliant, we are further interested in finding tent pole movies for the format that will inspire audiences to leave their homes and go to the theatre to share in this unique experience." Hollywood producer Jerry Bruckheimer also signed on to use the technology on a new, upcoming project, along with re-envisioning a classic Bruckheimer film in the format. Since its initial launch last year, Barco Escape expanded its footprint to more than 20 theatres in the U.S., Europe, Mexico and now China for Maze Runner: The Scorch Trial's release, with plans for more than 150 theatres globally in 2016.

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Barco First to Launch 18,000-lumen Laser Phosphor Projector Barco is expanding its portfolio of laser-illuminated cinema projectors with a range of laser phosphor projectors. The brand-new projectors offer exhibitors a future-proof and cost-effective way to upgrade their fleet while providing superior image quality. Thanks to the unique laser phosphor retrofit module, exhibitors who already own a Barco cinema projector can now also benefit from laser technology. The DP2K-20CLP and DP2K-15CLP are the first two models of Barco's laser phosphor projector series that are being launched. They will be shipping globally from Q2 2016 onwards. "Exhibitors are constantly looking to offer their audiences superior image quality at a lower cost, and with greater simplicity - and our laserilluminated projectors meet those demands perfectly," comments Wim Buyens, Senior VP of Barco's Entertainment division. "Now is the time to switch to laser. By selecting laser projection, exhibitors invest in the future. Following the digital cinema conversion, we're proud to spearhead the transition from lamp-based to laser-illuminated projection by offering the widest range of laserilluminated projectors in the industry." "Thanks to our complementary portfolio of laser projectors it becomes easier for exhibitors to benefit from laser-illuminated projection, irrespective of their screen size, theatre size, or budget. The Barco 6P flagship laser projectors for premium screens offer unprecedented image quality that wows audiences at an attractive total cost of ownership while our brand-new laser phosphor series for the mid-range reduces costs

significantly and provides superior image quality," says Stijn Henderickx, VP Cinema at Barco. "What's more, we're proud to be the first manufacturer to introduce an 18,000lumen laser phosphor projector for cinema, which is three times the brightness of any other laser phosphor offering in the market." Freeing users from all lamp-related costs, both the new and retrofit laser phosphor projectors provide considerable cost-savings. Thanks to their unique cooling system, the laser phosphor projectors boast a long lifetime of 30,000 hours at 50% light output, which is equivalent to the lifetime of 30 Xenon lamps. Compared to lamp-based projectors, their optical efficiency is also significantly higher, resulting in electricity bill savings of up to 50%. Theatre owners can easily retrofit their existing Barco DP2K-15C and DP2K-20C projectors by replacing the lamp house with a laser-phosphor module. What's more, the new projectors' compact single projector setup integrates seamlessly into current booth setups. Based on a laser phosphor light source, the DP2K-20CLP and DP2K-15CLP series increases uptime and eliminates the costs, administration, and maintenance related to lamp-based illumination. Providing 18,000 and 13,500 lumens brightness respectively, the DP2K20CLP and DP2K-15CLP combine consistent DCI-compliant image quality with the outstanding uniformity only laser illumination can provide. The laser phosphor projectors offer improved image quality on both white and silver screens and are compatible with popular 3D systems.


Starlight Cinemas Becomes Latest Barco Flagship Laser Projection Customer Cinema market share leader Barco continues to rapidly grow its industry-leading laser projection footprint, securing Starlight Cinemas in Southern California as its latest customer with an installation at its Dos Lagos 15 theatre. Already a satisfied customer of Barco's xenon projectors with dozens of units installed across its circuit, Starlight Cinemas has made the move to laser projection to offer customers a premium moviegoing experience. Cinema integration partner Moving iMage Technologies (MiT) secured and installed the project, which is targeted to "go live" in late October. "As the region's premier theatre chain, we are committed to offering our guests the ultimate in cinema entertainment," comments Gary Wallace, chief of Projection and Sound for Starlight Cinemas. "Barco's laser projection elevates the calibre of our movie showings and allows us to maintain our competitive edge in the market. We look forward to promoting this quality advantage to our guests." Starlight Cinemas selected the Barco DP4K-45L ultra-bright, 6P laser cinema projector to illuminate its 68-foot screen in an extra-large auditorium suited to deliver premium movie experiences. The projector was chosen especially for its ability to deliver a radically improved 3D movie experience, which relies on extreme brightness levels to ensure superior image quality. "Barco fully integrated laser projectors offer the brightness needed to show movies in their best light," comments Bevan Wright, executive vice president of operations at Moving iMage Technologies. "It's the only way to achieve the brightness levels needed for high-quality 3D movie presentation." Barco is the market leader in laser projection with already more than

60 theatres committed to be equipped with Barco's Flagship Laser DP4K-L products by the end of 2015. Barco's success in cinema laser projection is based on the very strong value proposition Barco laser offers to the exhibition community: a major step up in the audience experience at very competitive prices. Offering a unique combination of superior image quality, unmatched 3D brightness and low TCO, Barco laser projectors give exhibitors the opportunity to create a differentiating premium movie experience at a very attractive TCO.

IMAX Crosses 500th Theatre Signing Milestone in Greater China IMAX Corporation, IMAX China Holding Inc and CJ CGV today announced an expansion of the companies' partnership with the addition of 25 new IMAX theatres across China. The theatres will be installed in new construction projects, most of which are located in first- or second-tier cities in China. With this deal IMAX has surpassed 500 theatre signings in Greater China, which will bring its network total in the region to 520 theatres, with 275 open and 245 contracted to open.

"Our 500th theatre signing in China represents another milestone in what has been a watershed year for IMAX in the country, and follows our IPO which demonstrates our commitment to the region and our continued efforts to grow alongside our theatre partners," said IMAX Corp. CEO and IMAX China Chairman Richard L. Gelfond. "We are truly honoured to reach this milestone with CJ CGV, our valued partner and one of Asia's leading exhibitors, and to continue to solidify our position at the epicentre of China's burgeoning entertainment ecosystem."

Sony Digital Cinema Confirm Hangmen is Next Production to get the 4K Treatment National Theatre Live will partner with the Royal Court and Playful Productions to broadcast Hangmen from London’s West End. It will becaptured in ultra-detailed Sony 4K and projected in the highest picture quality to audiences across Vue Cinemas’ 84-site estate. The production marks the fourth collaboration in the year-long partnership between National Theatre Live, Vue Entertainment and Sony Digital Cinema 4K, which has already seen 4K productions ofBehind the Beautiful Forevers, The Beaux Strategem and Hamlethit the big screen from the stage. The work continues to garner the attention of cinema goers, with world-class theatrical experiences arriving on the big screen in unsurpassed 4K clarity. Hangmen is the latest production to get the bespoke 4K event cinema treatment from the Wyndhams Theatre. Working closely with its production partners, Sony has employed its versatile technology throughout the established partnership to take plays from different environments, including the Olivier Theatre, The Barbican and the Wyndhams Theatre, to the cinema screen. March-May 2016

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GDC’s Next-Generation Standalone Integrated Media Block (SX-4000 Standalone IMB) GDC Technology’s next-generation SX-4000 Standalone Integrated Media Block (IMB) is designed to future-proof today’s digital cinema. It is the first and, currently,the only IMB designed to adhere to SMPTE’s new”Digital Sync Signal and Aux Data Transfer Protocol” standard (ST 430-14:2015) - a newly adopted standard that defines how auxiliary data between the digital cinema server and external devices like motion systems and immersive sound processors are synchronized. This integral feature enables the SX-4000 IMB to be plug-and-play compatible with future technologies that conform to this SMPTE standard. In addition, GDC’s scalable architecture is designed to meet the requirements of the upcoming SMPTE TC-25CSS cinema sound standard. The next-generation powerful audio processing capabilitiesof the SX-4000 allow it to have a build-in decoder for DTS:X immersive sound format. GDC has rich experience in manufacturing immersive sound processors; in 2011 GDC designed and manufactured IMM Sound’s immersive sound processors licensed from Barcelona, Spain. IMM Sound enabled cinemas using GDC sound processorswere installed in China, Japan and Korea. IMM Sound was subsequently acquired by Dolby in 2012. SX-4000 can support up-to 32 channels of DTS:X decoding and is capable of delivering 16 discrete

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channels of immersive audio for any speaker layout while reserving two spare channels for other applications. Designed with the digital cinema of the future in mind, the SX-4000 IMB includes the innovative features below: •

Next-generation design and hardware which enables faster processing speed for handling tasks more quickly. This additional processing power opens options for advanced integration, theatre automation, and other value-add capabilities.

Total 18 audio channels/outputs

Ability to handle high-quality live streaming contents such as MPEG4, MPEG2 in 2D or 3D

Faster I/O interface such as USB3.0 for faster content ingestion and “live play” from storage devices in emergency situations

Additional Gigabit LAN port that can be used for dedicated ingest, theatre automation, and other external devices

Up mix capability from 5.1/7.1 to 16 channels for alternative and pre-show contents

Built-in full 16 channel immersive sound decoder for DTS:X (optional)

Supports SMPTE’s new “Digital Sync Signal and Aux Data Transfer Protocol” standard (ST 430-14:2015) (optional)

XSP-1000 The GDC XSP-1000 is a 16-channel cinema processor specifically designed to handle object-based immersive audio formats (particularly DTS:X), while still being backwards compatible with 5.1 and 7.1 surround sound systems. It works in conjunction with the SX-4000 Standalone IMB to playback the highest quality and most demanding audio/visual presentations. The cinema processor can be controlled from any computer running Windows operating system allowing for easy operation and integration with most theatre management systems. The unit features low noise digital processing (up to 96 kHz sample rate) which ensures superb audio fidelity as well as bi-amp and tri-amp crossovers support of up to five screen channels plus individual parametric equalization on one to three LFE outputs. “We designed the SX-4000 Standalone IMB and XSP-1000 Cinema Processor to be used together as an affordable solution for every cinema in the world. The pair of products not only handles demanding visual formats such as HFR 3D, but can also playback immersive audio formats such as DTS:X with its 16 full-channel DTS:X processing capabilities. By seamlessly integrating with other devices that meet the new SMPTE standard for auxiliary data synchronization and by not requiring additional equipment such as an external immersive sound decoder or external file server, the combined products simplify operations and integration. GDC has focused solely on futureproofing cinema operations for exhibitors and, simply put, this combination represents the best, most versatile solution in our 15 year history.” Dr. Man Nang Chong, founder, chairman and CEO of GDC Technology.


Ymagis Group Launches New State-of-the-Art Dolby Atmos Screening Room at Central London Offices Ymagis Group, the European specialist in digital technologies for the cinema industry, announced the launch of a new, state-of-the-art Dolby Atmos screening room at its Soho offices in central London to serve the UK film industry. Featuring nine luxury seats in a private environment, this new screening facility is acoustically isolated and ideal for quality control and VIP screenings, daily rushes, colourgrading, mastering and corporate activities. "After concluding a content duplication services agreement with NFT Logistics this past summer, we are delighted to extend our services to the British film industry with this new screening room designed and built with quality at its heart," explains Jean Mizrahi, President and Chief Executive Officer of Ymagis. "With the relocation of our services portfolio, including consulting and exhibitor services, content delivery for live events and theatrical releases, we have now finalized the centralisation of all our UK operations in a single location near Oxford Circus." "We literally bring the skills and expertise of our existing labs in Paris, Barcelona, Liege and Berlin to the British filmmaking community with our new London office," adds Manel Carreras, UK General Manager and SVP Content Services Business Development of Ymagis Group. Equipment includes revolutionary Dolby Atmos surround sound technology, 7.1 and 5.1 sound systems, 2K DLP cinema projector, professional satellite receiver, Xpand 3D and a 4.5-meter wide, flat Matt White screen (Gain 1).

QSC Founder Pat Quilter Receives 2016 Beryllium Lifetime Achievement Award QSC founder Pat Quilter is the 2016 recipient of the Beryllium Lifetime Achievement Award from ALMA International, the professional association that is the source of standards, news, networking, and education for technical and business professionals in the acoustics, audio, and loudspeaker industry. The Beryllium Lifetime Achievement Award is given by the ALMA Board of Directors in recognition of significant and sustained contributions to the loudspeaker industry over the lifetime of a career. Pat Quilter, along with business partners Barry Andrews and John Andrews, formed Quilter Sound Company in 1968 and began building power amplifiers and guitar amplifiers for local musicians and artists. Today that company is QSC one of the leading global manufacturers of professional audio products, with a staff of over 400 skilled professionals and offices worldwide. In 2011, Pat Quilter founded Quilter Labs, where he designs and manufactures premiere guitar and musical instrument amplifiers for some of the leading artists and performers in the music industry.

Ushio and VUE Announce a 3-year Strategic Partnership for Xenon-lamps USHIO, the world-leading manufacturer of Xenon lamps, and VUE, one the largest cin-ema group in the world and a leader in the premium entertainment cinema sector, announced that they have established a strategic partnership aimed to enable future growth. The 3-year exclusive supply agreement for Xenon lamps was signed for the UK and German market, highlighting USHIO as a sole supplier for all VUE SONY projectors. The two well established brands know their strong values and VUE has been working with USHIO’s reliable projector lamps for years, so this signed contract was just the next step to take. “We have tested all major lamp brands in our SONY projectors. Based on this extensive experience we have chosen USHIO for all our SONY projectors. Not only the outstanding quality was decisive, but also the wide choice of lamp-types that allows us to optimize the performance in each of our screens. USHIO’s valuable advice in this choice makes them more than just a supplier. We are excited to work with USHIO, who has been a leader in cinema projector lamps worldwide, and to add them to our expanding roster of global suppliers. The VUE sets the stage to grow with USHIO, beginning with the cinema projector lamps in UK and Germany and potentially adding other markets over time.” - Roland Jones, Executive Director Technical Services, VUE. This agreement represents a strong strategic alliance which fits well with their missions. USHIO’s product quality combined with VUE’s market capability results in an exceptional value proposition to the cinema industry.

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Harkness Screens Reveals its New 4K Compliant Digital Perforation Pattern Harkness Screens, global leaders in screen technology, has revealed plans to transition from its existing standard perforation pattern to a new pattern for their leading screen surfaces. The new Harkness Digital Perforation Pattern will become the standard perforation pattern for all screen types replacing the existing standard pattern. The new pattern has an open area of over 4% with over 65,000 holes per square metre. This helps to significantly increase light reflectance into cinema auditoriums compared to Harkness' previous standard perforation pattern and provides a brighter and better quality viewing experience. The smaller holes also allow for a closer viewing experience with less visible seams, while the increased quantity of perforations provides better sound attenuation. "Harkness' Digital Perforation Pattern has been specifically designed to reduce the onset of the Moire? effect, explains David Harrison, Chief Technical Officer at Harkness Screens. "Moire? fringing is caused when the weave pattern of a screen aligns and then interferes with the projector's pixelated images resulting in an undesired, strobe-like effect across the screen, which can have a huge impact on cinematic experience. With the resolution of projectors growing, it is a common issue in contemporary digital imaging and the new perforation pattern helps to offset this." Some screen perforations can accentuate Moire?, this is due to hole sizing and spacing compared to projection pixels. The Digital Perforation Pattern works in harmony with current 4K projectors and the natural hole variations work to reduce alignment with projection pixels, providing a flawless, high definition image. As part of the switch to Harkness' new perforation pattern, Harkness

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has increased the width of its industry leading base materials, reducing the number of seams required to make a screen significantly. "As well as all of the visual benefits, the new perforation pattern has led to one significant improvement in our manufacturing process. Whilst we pride ourselves on invisible seams under projected light, we recognise that for exhibitors in general and especially post production and screening room operators, the desire to have a screen made of the fewest seams possible is significant. With our new perforation process, we're able to reduce the number of panels required to make a screen significantly meaning a reduction in seams of at least 30%," Harrison concludes. The new Harkness 4K Digital Perforation Pattern is available from Harkness US factory and will be extended to its Asian operations in early 2016, with European operations following shortly after.

QSC Launches New SB-2180 Compact Subwoofer At ShowEast 2015, QSC introduced the latest in its line of compact, space-saving subwoofers. The new QSC SB-2180 subwoofer is the thinnest dual 18 inch subwoofer on the market. Each driver is loaded into its own internal chamber. An ingenious folded port design minimizes cabinet depth, yet still

provides full port volume. The port also acts as internal bracing, creating a stiffer, less resonant cabinet. All of this allows the enclosure to be at least 20% thinner than any other dual 18" subwoofer you can buy, occupying up to 40% less floor space in your theatre. In a multitheatre complex, that extra square footage translates into more revenue-generating seating or concession space. And, you can stack four on a shipping pallet, significantly reducing freight costs. "Conventional thinking says that subwoofers must be large, refrigerator-sized enclosures," says Barry Ferrell, head of the QSC Cinema group and Senior Vice President and Chief Strategy Officer for the company. "While it's true that you need to move a lot of air to make bass, with smart design you can minimize box size and still create the port length and tuning you need for very low frequencies common in today's digital cinema soundtracks." The SB-2180 is tuned to 29 Hz, has a power rating of 1200 watts. Beside outstanding very low frequency performance and the installation features typical of all QSC Cinema products, a key design goal was to reduce customer's freight expense by maximizing the use of shipping pallets. "Large subwoofers often occupy an entire shipping pallet, or which wastes space in shipping containers and trucks," explains Ferrell. "The SB-2180 was designed to fit four loudspeakers on a pallet including its shipping carton. This means lower freight costs and less handling costs during shipping and on the job site."


Empire Cinemas Specifies Harkness Screens Clarus XC Since its launch in 2013, Harkness Screens Clarus XC screen technology has proved to be a massive step forward in terms of presentation quality for exhibitors seeking to show 2D content on a screen suitable for polarised 3D projection, so much so that a number of exhibitors including UK-based exhibitor Empire Cinemas are now mandating Clarus XC as their screen choice for all auditoriums regardless of 2D or 3D. "It's not just about improving presentation quality in 3D, it's about making sure that 2D content looks as good as it can from a polarised screen," explains Andre Mort, Technical Director of Empire Cinemas. Widely regarded as early adopters in deploying emerging cinema technology, the roll-out of Clarus XC through Empire Cinemas has gathered pace since initial testing in 2014. "What Clarus gives us is a way of future proofing the business. As a 3D screen, it's a big step forward compared to the silver screens that hit the market during the 3D boom and its visual performance is more than comparable to high-gain white screens. In effect the quality of the visual performance from Clarus has created a solution which allows us maximum flexibility on how and where we show all movies. We're no longer limited to only showing 3D movies on certain screens and 2D movies on others or having to show a 2D movie on a 3D screen with visible hot-spotting. If there's a big 3D blockbuster movie, we can run it on the big 3D screen and then switch the movie over to one of our smaller screens repositioning our 3D systems in the booth as it nears the end of its run. That flexibility then allows us to free up the largest and usually highest grossing auditoriums to show the next release be it 3D or 2D with customers getting a great visual experience," explains Andre.

Clarus XC technology is the result of significant work by Harkness' Research and Development team and brings together a number of proprietary technologies to create a screen surface for 2D an 3D which has been approved by major Hollywood film studios. The 4th generation d-smooth coating technology utilised in Clarus technology has specific properties more commonly seen in white screens. This technology enables Clarus XC screens to benefit from significantly improved light distribution compared to traditional 3D silver screens. Through this unique technology, visible hotspotting is significantly reduced and uniformity is increased, making compliance with 2D industry standards more easily achievable. "The first site we fully deployed Clarus technology at was our Walthamstow site in North London which opened in 2014. It's been a big success and the feedback we've received from our customers about the viewing experience continues to be extremely positive. It's all about specifying the right equipment up front to ensure there's sufficient light on screen and we spend a lot of time working with all of our technology partners getting it right," explains Andre. Subsequent to the Walthamstow rollout, Empire has continued to deploy Clarus technology replacing ageing 2D and 3D screens across their various sites in the UK. However with Empire's ambitious expansion plans, the Clarus roll-out has not been limited to screen replacements and Clarus technology has been deployed at the recently opened sites in Catterick and Hemel Hempstead. Andre concludes that "having seen the benefits, we are looking to deploy Clarus technology further. It's a big step forward in improving presentation quality and it's part of our commitment to provide our customers with the best viewing experience possible."

Strong/MDI's New Coating Laboratory Strong/MDI has announced the establishment of its new coating laboratory. The state-of-the-art laboratory will be dedicated to the production of specialised coatings. Led by experienced chemists, the laboratory will also undertake important research and development activities in order to improve the viewing properties of projection surfaces. "Innovation has always been a priority at Strong/MDI and we think it is important to continue our efforts to maintain our position as an industry leader in the development of specialized coatings, this newly established laboratory will certainly help us in achieving this." says Francois Barrette, General Manager.

Galalite Screens Revolutionizing Cinema Screening! Adding to the list of milestones, this year has seen the first ever showcase of Galalite screens at the CineAsia event in Hong Kong; all set to take movie viewing to the next level. CineAsia is the Pan-Asian Convention to cinema exhibition & distribution communities. It also screens major Asian and Hollywood films and offers educational programs catering to the needs of the Asian cinema exhibition communities. The belief that movies watched in theatres need to be nothing short of an experience has got Galalite to upgrade their current set of offerings, which were also exhibited at the event. The latest versions of projections screens by Galalite include; Galalite Matte White Screen, Digilite and Prism 3D. The already cutting edge technology by Galalite has become even sharper with the innovation of a new coating technology, adding to the dexterity of the screen. Even with continuous use, over the years, the brightness will stay intact. March-May 2016

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Severtson Provides 46' X 76' Silver Cinema Screen for Audubon Nature Institute's Newly Renovated 3D Digital Theatre Severtson Screens, a global leader in innovative and quality projection screens for the cinema, commercial, pro AV, and home theatre markets, has announced that the recently renovated Audubon Nature Institute in New Orleans now boasts one of the largest immersive digital 3D cinema experiences in the country, thanks in large part to a 46-foot high x 76-foot wide 2.2 gain Severtson Se-Vision 3D GX silver screen. "The digital transition allows us to continue to offer quality institutional movies, and maybe participate in alternative content such as live concert or theatrical events, speaking presentations, gaming events, and movie festivals," said Audubon Director of Theater Operations Rodney Daniels of the potential of the renovated Entergy Giant Screen Theater. The Audubon Nature Institute's $1.2 million Entergy Giant Screen Theater soft opened on October 15th with Disney's full-length feature The Little Mermaid in 3D. A grand opening is slated for November 18th which will include the premiere of Journey to Space, a documentary on the on-going mission to Mars, narrated by Patrick Stewart and presented by the theatre's sponsor, Giant Screen Films. Entertainment Supply & Technologies (Tampa, Fla.) cinema engineers renovated the existing theatre at Audubon, coordinating and installing an entirely new, fully digital experience. In addition to the Severtson screen, the new Christie Duo 4K digital projection allows Audubon to have its pick of first-run Hollywood features, and the state-of-the-art 46channel Dolby Atmos sound provides an unparalleled experience for the guest. The new immersive sound is supported by QSC audio components mounted on StarGrid, a proprietary speaker grid system by Adaptive Technologies Group.

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"We knew the quality of the Severtson giant screen was what we were looking for, and that they could produce it on schedule was vital because timing was everything for this project," explained Bruce Schneiter, Entertainment Supply & Technologies senior vice president of technical services. "Severtson was not only able to create and deliver the desired screen on time, but their new folded shipping capability made it so we didn't have to take any walls down in order to get the enormous screen into the auditorium." According to Dan Maxwell, Severtson Screens vice president & chief operating officer, typically a screen of this size would need to be packed into a 50-foot wide crate. "Due to our folded screen technology, the crate size was merely 14-feet, making it very easy to manoeuvre into and through the building," he said. "These folded screens are highly efficient for significant international savings with shipping, but also offer great benefits domestically with complex installation such as this one where it was nearly impossible to get a long crate into the building without cutting a hole in the wall." Shipping costs associated with such large packages as these were out-ofreach for so many customers up

until recently. Now, Severtson Screens' S?Vision 3D GX screens can be folded and packed into a much smaller crate without any loss in structural integrity or performance abilities. "Severtson's new folded screen process not only reduces international shipping fees, the smaller packaging simplifies delivery to theatres and is more convenient for installers as folded screens are much easier to get into buildings and uncrate than standard longtube roll packaging‌especially when a theatre is in a unique structure, such as a high-rise or multi-story theatre complex," added Maxwell. The new folded line of S?Vision 3D GX and Ultra Wide cinema screens have numerous advantages, including: available in standard or micro perforation (white and silver); coated surface that is harder to bruise and scuff; small micron flake coating produces a sharper image, eliminating graininess in bright scenes; viewing angles range from 30 to 40 degree half-gain depending on the specific screen gain requested; water-based coating promotes longevity by maintaining optical properties over time, eliminating flaking and cracking of the screen surface; and perfect for all large cinema applications, such as movie houses, museums, universities, etc.


Cineplex Entertainment to Significantly Expand its D-Box Footprint D-BOX and Cineplex Entertainment announced an agreement that will see the installation of D-BOX motion systems into 23 additional auditoriums across Canada. D-BOX motion systems are a premium movie-going experience and one of the hottest technologies in cinema today. The seats, which can be reserved in advance, immerse guests into the movie by moving in synchronisation with the action occurring on the big screen. Cineplex currently has a network of 163 theatres in every province across Canada, 44 of which have auditoriums equipped with two rows of D-BOX Motion Seats. Over the coming year, additional seats will be installed into 23 auditoriums in communities across Canada, increasing by more than 50 per cent its current install base to 67 auditoriums. “We are pleased to expand our relationship with Cineplex, Canada’s leading theatre exhibitor and one of North America’s top operators,” stated Claude Mc Master, President and CEO of D-BOX Technologies Inc. “Today’s announcement is further evidence of the popularity of DBOX’s experience and the appeal of its business model for exhibitors. With a strong Canadian coast to coast presence and a fast growing footprint worldwide, D-BOX can expect increasing brand awareness and accelerated growth in all of its business segments. More so, with a unique positioning at the convergence of virtual reality and entertainment, D-BOX is also one of the key players that will redefine the entertainment and simulation worlds of tomorrow.” “Canadians love D-BOX seats and we’re excited to give them the opportunity to love them even more by expanding our network across the country,” said Pat Marshall, Vice President, Communications and Investor Relations, Cineplex Entertainment. “Last year premium movie experiences including DBOX

accounted for nearly 40 per cent of our box office revenue, so it is clear that Canadians seek premium entertainment options when going to the movies.”

First 4DX Theater in New York Opens with Batman V.Superman CJ 4DPLEX, an immersive theater technology featuring moving seats and environmental effects announced the opening dates for the first two 4DX theaters in New York City in partnership with Regal Cinemas, the largest theatre exhibitor in the United States. 4DX will launch in Manhattan on March 25 at the Regal Union Square Stadium 14, followed by the Regal E-Walk 13 opening on April 28. The first film to premiere in 4DX in New York City will be the highly anticipated Batman v. Superman. Regal Union Square Stadium 14 is one of Regal’s top grossing theatres, located at 850 Broadway, and the Regal E-Walk 13 is centrally located in the heart of Times Square at 247 West 42nd Street. These two movie theatres in Manhattan will become the 3rd and 4thauditoriums in the United States to host 4DX screens, along with theaters located in Los Angeles and outside Chicago. CJ 4DPLEX’s 4DX technology enhances the onscreen visuals of action-packed blockbusters, enabling a completely immersive experience that transcends the traditional cinema experience through special effects including motion-activated seats, wind, fog, rain, lightning, vibration, snow and scents. 4DX goes beyond 3D and large screen formats by adding visual, aural, olfactory and tactile dimensions to the filmviewing experience, perfectly syncing cutting-edge technology to the action onscreen.

CJ 4DPLEX’s 4DX technology was first launched in America at AEG-owned Regal Cinemas L.A. LIVE Stadium 14 in June 2014. During its first year, the 104-seat Regal LA Live 4DX Auditorium generated $1.7 million in revenue, triple the total from the previous year. Attendance also doubled during the same period, and the theatre has moved up nearly 40 spots in overall U.S. box office rankings. 4DX opened its second screen in Gurnee, IL outside Chicago late last year.

USL Promotes Tom Atkison to Director of Technical Sales USL, Inc. announced the promotion of Tom Atkison, to the position of Director of Technical Sales. In his new role, Tom will oversee the sales and marketing department. He will create and guide new sales strategies, further develop customer relations, and drive sales efforts in the cinema and pro AV marketplaces. He will continue to have a presence in the Production Department. “Tom has been a dedicated employee for our company for over twenty years, and he has earned this promotion through hard work, having a positive attitude and developing excellent relationships throughout the cinema industry,” stated Felicia Cashin, Vice President of USL. “He has extensive product knowledge, with keen insights into future industry innovations and an integral part of our sales team on a global basis for over 7 years,” added Cashin. Tom Atkison has an extensive history with USL, starting as a technician in 1994, he was promoted to Production Supervisor in 1997 and Production Manager in 2005. He is a company representative to the International Cinema Technology Association (ICTA) in which USL has been honored to receive the prestigious “Teddy” award for Manufacturer of the Year six times.

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• S P E C I A L F E AT U R E •

JOHN ZENG (ZENG MAO JUN)

President - Wanda Cinema Line

China's Numero Uno in Cinema Entertainment TW-30

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• SPECIAL FEATURE • The largest theatre operator in Asia, the Beijing-based Wanda Cinema Line has 240 cinemas and 2,133 screens, covering 115 cities nationwide. The cinema chain aims to account for 10% of Chinese cinema screen coverage and 20% of its market share in future. John Zeng (Zeng Mao Jun), President, Wanda Cinema Line, tells TheatreWorld what makes Wanda Cinema Line the No. 1 in China. Tell us more about Wanda Group. The largest theatre operator in Asia, Wanda Cinema, headquartered in Chaoyang District, Beijing, China is a part of the Dalian Wanda Group. Dalian Wanda Group was founded in 1988 and is engaged in three key business activities - commercial properties, culture and finance. In 2015, its assets amounted to 634 billion yuan with revenue of 290.16 billion yuan. Wanda Commercial Properties is the world's largest real estate enterprise and the biggest five-star hotel owner in the world. Wanda Cultural Industry Group, meanwhile, is the largest cultural enterprise in China, and the world's largest cinema operator. It is also the world's biggest sports company. Wanda Financial Group is the largest internet finance enterprise in China. By 2020, Wanda Group aims to become a world class multinational corporation with assets of $200

billion, market capitalization of $200 billion, revenue of $100 billion and net profits of $10 billion. What business prospects and fortunes did the Group see in cinema business? As a commercial real estate developer, Wanda Group needed to find a cinema line operator as its commercial property partner. However, the domestic cinema market was not so prosperous at that time and few cinema line operators can meet the development requirements of Wanda commercial real estate. Given this background, Wanda Group decided to build cinema line on its own. On January 20, 2005, Wanda Cinema Line Corporation Limited was established. Until the end of 2009, Wanda Group owned 50 self-invested cinemas and 400 screens. Its cinemas covered 30 large and medium cities nationwide and became the annual China box office champion for the first time. Up to the end of 2015, Wanda Cinema Line operated 292 sites with a total of 2557 screens. Its gross box office revenue has reached 6.3 billion RMB, with a year-on-year growth of 49.6%. Wanda Cinema Line approximately accounts for 14% box office revenue nationwide and its market share has been maintaining the first place for seven years successively. What is your current screen count at different location?

Wanda Cinema Line has 240 cinemas and 2,133 screens, covers 115 cities nationwide (Hoyts not included). It is China's largest cinema chain in terms of market share. Wanda Cinema acquired Hoyts Cinema in 2015, which is the second largest cinema chain operation in Oceania owning 52 cinemas and 424 screens. Meanwhile, Wanda's wholly-owned AMC Entertainment (NYSE:AMC) is the second largest cinema chain in the world, owning 343 theatres and 4,950 screens. Tell us about your cinema acquisitions as of date and the future plans? •

On June 2, 2015, Wanda Cinema Line announced to purchase Australian second cinema line HOYTS.

On June 26, 2015, Wanda Cinema Line announced merging the 15 cinemas afflicted to SHIMAO cinema line.

On June 3, 2015, Wanda Cinema Line announced merging the 13 cinemas afflicted to OWNAR and HOPING.

In future, Wanda will continue to seek ideal cinema line project to conduct merger.

Being the biggest cinema chain in Asia, what's your vision and mission for this business? The development mission for Wanda Cinema Line is to account for 10%

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• S P E C I A L F E AT U R E • e-commerce platform in this industry. Up to the end of 2015, our online box office surpassed 70%; the online registered users have surpassed 31 million and the app download amount has exceeded 10 million. Thirdly, Wanda Cinema Line began to set up its own loyalty programme very early and as of date it has members of over 50 million. Wanda Cinema attributes to over 80% of the total box office with pre-paid ones watching films over 6 times annually.

Chinese cinema screen coverage and 20% market share. The development strategy for Wanda Cinema Line is to rotate on watching films to forge a film life service ecological circle and to become the leading enterprise in the global entertainment industry. How many screens are in pipeline and what is the next target screen count for Wanda Cinema? Wanda Cinema Line plans to open no less than 77 cinema studios in 2016 and increase over 700 screens. At the same time, through cinema line merger, the group will further extend its market coverage. Does Wanda Cinema have any plans of star megaplexes (15+ screens)? The average screen number in Wanda Cinemas is around 9. At some newly-opened sites, we already have some cineplexes with over 15 screens. In the future, the decision will be taken based on a set of comprehensive data analysis model. By exploring one site's regional research, market volume and competition analysis, we will be able to evaluate the scale and screens capacity required for each site. Do we see Wanda Cinema expanding outside China in near future? By acquiring Hoyts, Wanda Cinema Line has already set its foot abroad. And it will continue to look for overseas acquisitions.

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Given that Wanda Cinema is at No. 1 position in China, how do you see yourself maintaining the position in the face of competition? Firstly, the operational quality and efficiency of Wanda Cinema is of prime importance. The admission revenue per screen for Wanda Cinemas is over threefold above the industry average level and the capacity rate is twofold over the industry average. Forty five Wanda cinemas have ranked among the top 100 in the nation; 80 such cinemas have ranked among the top 200 in the nation. Among the cities where Wanda Cinemas have entered, over 70% are dominated by us. Secondly, Wanda Cinema Line boasts strong online platform support and keeps an edge against the impact of internet. Wanda Cinema has a leading

Last but not least, Wanda Cinema Line put forward "member+" strategy and hopes to increase the non-box office revenue through crossover marketing integration and consuming scenario innovation. This is built on the enormous loyal members of Wanda Cinema and is also built on our strong brand charisma. All of these aspects are unrivalled. Currently, our numbers of screens may not be the same as that of our rivals. But in the future, by accelerating development pace and capital mergers and acquisitions, Wanda will enlarge its market coverage rate and further strengthen its competitive edge. It's an age of Immersive technology, laser format, 3D digital and large format like IMAX, and sophisticated ticketing processes. How is Wanda Cinema embracing these technological advancements?


• SPECIAL FEATURE • usage of cinema. For example, we cancelled the ticket entrances at some cinemas and adopted the selfservice check-in gate - this means we release more lobby space. At the same time, we utilise the space to providing film merchandise products, game interaction experience zone and we even show some classic old films in lobby. Which movies generate greater revenue - Chinese or Hollywood? List out the top 5 movies which did good business?

Wanda Cinema is renowned for providing best projection technology and highest movie-going experience quality. We are the biggest cinema line partner for IMAX in Asia. We have been cooperating for nearly nine years and it can be dated from 2007 when the first IMAX screen was completed in Dong guan, which recently we have upgraded into the first IMAX laser projection system in the Asia. Wanda Cinema has witnessed the IMAX development in China. Up to December 31, 2015, Wanda Cinema has entered into 92 cities nationwide and has built 146 IMAX screens, which amounts to 60% of the total screen numbers. Besides the cooperation with IMAX, recently Wanda Cinema announced its cooperation with Dolby. In the future, the two parties will jointly set up 100 Dolby Cinema and it is the first time that the technology has been introduced to Asia.

mainly oriented towards Tier II and Tier III cities and provides better film watching experience compared with regular 2D and 3D; the latter is oriented towards an exciting film viewing experience. How different is Wanda Cinema from others in terms of ambience, services, pricing and cinematic luxuries? First of all, Wanda Cinema provides movie-goers with standardised and high quality service. In addition, we have years of chain operational experience of highly standardised management and high quality hardware facilities. Meanwhile, Wanda Cinema's concept of "Cinema 2.0" is about building interactive, recreational and entertainment space. For this aspect, we renewed our plan for the space

In 2015, the overall performance of Chinese films was better than foreign films. Of the total box office revenue of 44.069 billion RMB, the Chinese films account for 27.136 billion RMB, amounting to 61.58% of total box office. The Chinese film box office increased by 10.981 billion RMB compared to that in 2014, an increase of 68%. In the ten years, from 2006 to 2015, the Chinese films accumulated 86 billion RMB, amounting to 56.26%. Totally, 81 films have achieved box office revenue surpassing 0.1 billion RMB, among them the Chinese films amount to 47. Following are the top five films of 2015 in terms of box office: Number 1: Chinese film Monster Hunt; earned total box office revenue of 2.439 billion RMB. Number 2: Hollywood movie The Fast and the Furious 7; earned total box office revenue of 2.426 billion RMB.

In 2015, Wanda Cinema has also introduced other new projection technologies -- ScreenX?4D (powered by 2 different technologies - 4DX&MX 4D) and all of these enrich the film viewing choices of audience. At the same time, Wanda Cinema also joins the global leading technology providers Christie, Dolby, RealD to forge Wanda's own highend film watching brands XLAND and Auditorium No. 9. The former is March-May 2016

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• S P E C I A L F E AT U R E • Number 3: Chinese film Lost in Hong Kong; earned total box office revenue of 1.62 billion RMB. Number 4: Hollywood movie Avengers: Age of Ultron; earned total box office revenue of 1.464 billion RMB. Number 5: Chinese film Goodbye Mr Loser; earned total box office revenue of 1.441billion RMB. Tell us about the cinema market in China with regard to box office growth. According to SAPPRFT cinema bureau, in 2015, Chinese cinema box office totalled 44.069 billion RMB, a year-on-year increase of 48.7%, ranking at the second place in terms of annual box office increase margin since 2004, next only to 63% in 2010. The annual attendance boasts 1.26 billion, a year-on-year increase of 51.08%. In addition, in 2015, the construction of cinemas continues to keep rapid pace, the whole year newly-increased cinemas amount to over 1200, newly-increased screens total 8035, a daily increase of over 22. Currently, the cinema numbers in our country surpass over 6000 and the total screen numbers has reached 31627, only a lack of 7000 screens compared with the biggest North American market in the world. Last year, China added 5000 screens to reach 31,000 screen count. How was the country able

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to achieve this massive growth in number of screens? Compared to mature market like the US, which has a coverage rate of 1.3 screen per 10000 persons, China is likely to reach the scale of 1,82,000 screen eventually. With our present screen count at 31,000, there is still very huge gap. I personally think, when we reach 1,00,000 screens, the market will enter steady development period and will see increase in rate of decline when the screen numbers amount to 7000080000. But the market will still keep the development speed of 4000-5000 screens. China still has a five-year, high-speed increase period. Both the government/cinema investors see a huge potential. It is the requirement for market that has pushed forward

Secondly, we see that home cinema and commercial cinema are complementary instead of conflicting. Both of them possess positive aspects for satisfying the consumers' requirements. Lastly, besides watching film, cinema still possesses socialising attribute. From our user data, we can see that most of the users watch films in the cinema together with their loved ones - couples, families and friends. Watching film is a socialising act, which cannot be replaced by home theatre. How does Wanda Cinema see piracy issue in the country?

We don't think so.

As the market is getting mature and the government supervision force is constantly strengthening, the piracy problem in China is getting redressed compared to previous years. In spite of that, as the film projection terminal, we still face the threat from piracy and we still have a long way to go in combating piracy and protecting intellectual property.

Firstly, television, home entertainment and commercial cinemas offer varied audio-visual experiences. The cinema gives users high-quality and more sensational audio-visual experience. Therefore, the users who demand high film quality will choose cinema to watch film, especially for big-budget films or their favourite films.

As the leader of projection industry, Wanda Group has continuously adhered to regulated management and has been on guard and combating fiercely the secret recording and bootlegging. Meanwhile, as a very influential media channel, we use all kinds of publicity to improve the intellectual property awareness in society.

the high speed development of cinema construction. Do you think television and home cinema are threats to the cinema exhibition industry?


• TECHNOLOGY •

Understanding

ASIA

A panel discussion presented by the International Cinema Technology Association outlines the Asian Movie Industry trends in Taiwan, Singapore, Japan and China. Raghavendra T, Editor-Publisher, TheatreWorld, brings you a firsthand account of the seminar from CineAsia 2015, Hong Kong.

One of the most-awaited annual events, CineAsia is a happening destination for the cinema industry, specifically geared toward the needs of the cinema exhibition community. CineAsia 2015 was yet another power-packed show, featuring a host of exciting seminars. A panel discussion presented by the International Cinema Technology Association (ICTA) titled General Industry Trends in the Asian Movie Industry straddled the various industry trends in Asian cinema, pondering on wide-ranging topics from 3D and laser technologies to film distribution and audience demographics. Raghavendra T, Editor-Publisher, TheatreWorld, brings you a first-hand account of the seminar from CineAsia 2015, Hong Kong. The session began with the presentation of Award of Excellence for Services to the industry to veteran Jim Murray, VP at Dolby and President of ICTA. The award was presented by his colleague Mike Archer.

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Seminar: General Industry Trends in the Asian Movie Industry; From 3D to Laser to Content -- A Panel Discussion Presented by the ICTA Host: Mike Archer Moderator: Ioan Allen, Film Audio Pioneer & Senior Vice President, Dolby Laboratories, Inc

Screen Count vis-à-vis Population Taiwan: 600 screens; Population 23 million

Panelists: Joe Chang, President, Ambassador Theatres

Singapore - 263 screens with 7 slated to open in January; Population 5.5 million

Mark Shaw, Executive Vice President of Operations, Shaw Theatres

Japan - 3400 screens; Population 103 million

Dick Sano, Managing Director-Film Distribution, Sony Pictures Entertainment Japan

China - Year-end numbers yet to be released by film bureau. Estimated at 31,000 screens; Population 1.4 billion

Jo Yan, EVP and Managing Director, Universal Pictures China Each of the four panellists, representing Taiwan, Singapore, Japan and China respectively, outlined the various aspects of cinema exhibition scenario in his own region/territory. With their extensive industry experience, the panellists construed the undercurrents of film distribution and exhibition, content and audience behaviour.

A continued growth is expected in the number of screens in all the territories with Singapore estimated to have 20 - 30 new screens in the next two years and China growing massively in tier 3, 4, 5, 6 cities at 30-33% annually. What remains to be seen though is the extent to which this growth remains sustainable in long run.


• TECHNOLOGY • Per Capita Admissions The number of times a person visits movie theatre in a year varied from less than 1 visit per year in China and 1.2 in Japan to 4.2 in Singapore and 1.6 in Taiwan. Comparing today's cinema exhibition scene in Japan with that in 1958, Dick Sano opines it's the quality of cinema theatre, in addition to content, which drives the competition rather than discounting.

Cinemas Are Here to Stay Ioan referred to Steven Spielberg's prophesy at a symposium two years ago that mainstream cinemas are doomed to extinction in ten years' time with iPad and home theatres booming, and only luxury, premium-priced theatres standing up to the onslaught. But none of the panellist subscribed to that possibility. They unanimously agree that movie is much more durable than most believe and strongly feel cinema is a social experience that cannot be replicated by VOD, DVD or Blu-ray.

Is Luxury Factor Catching On? While Dick Sano informs how exclusive luxury balcony seats for two sell like

hot cakes in places such as Roppongi in Japan, Jo Yan explains the complexities of a vast country such as China. Luxury seating is still not a priority in tier 3 and below markets, instead it's about having screens! The luxury trend is visible only in mature markets such as Shanghai and Beijing, i.e. in Tier 1 and 2 cities. Joe Chang also agrees that suburban markets in Taiwan cannot afford luxury seating. Singapore is a total contrast, as Mark Shaw informs, almost all the exhibitors here offer luxury seating.

The Marketing Window Although social media has changed the way people are exposed to information these days, most of the panellists personally feel cinema/theatre should be the first window to market the film release. Jo Yan explains how Chinese market has a very well defined window that every film needs to go through the China Film Bureau. With reference to this context, Ioan drew an analogy of "supping with the devil" on the paradox that on the one hand, film exhibitors use social media to promote films but on the other, it is also the medium they are competing with!

Demographics of Audiences With teenagers, young adults and women emerging as decision makers, the audience profile seems to be vibrant across Asia. Dick and Jo's interesting observations on the cell phone usage by the young audiences during film viewing and the inherent challenges they pose to the exhibitors made for some amusing titbits. The big question -will the median age be the same in future?

Tech Trends The panellists gave insightful observations on adoption of HDR, PLF and immersive audio and the cost factors involved. Premium experience comes at a premium pricing and works best for those sections of audiences, who desire something special. From 4K to indigenous 3D productions and 4D, and from preshows of trailers to advertisements, the final segment of the discussion covered a host of topics that affect the prospects of cinemas.


• 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 Next Generation Cinema and Trusted Device List.

Next Generation Cinema, Anyone? Fifteen years ago, the industry was concerned that emerging digital projection meet the quality level possible with film. Digital cameras could not capture an image close to the quality possible with film. Fast forward to today, and it's not hard to find experts that say projection technology has further to go to match film. And there are those that still prefer to shoot on film. But overall, the capability of today's motion picture cameras and image processing exceeds that of cinema projection technology. And that's a problem that will not resolve anytime soon. The problem appears in several ways: •

DCI and the virtual print fee bought a uniform footprint of cinema technology around the world. But the direction of next generation cinema is moving well beyond DCI, and the cinema footprint can no longer be uniform, introducing unanticipated inefficiencies.

Multiple DCP versions cannot be avoided. "Jurassic World" required over 300 different DCPs to accommodate all of the variations in cinemas across the globe. Each new technology is cause to an exponential growth in versions, which could lead to over 1000 different DCPs per major release by the end of the decade.

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There is no longer a body that can enforce standards. Ten years ago, the major studios had March-May 2016

unprecedented power through DCI to set standards, paid for through virtual print fee (VPF) subsidies. But those days are now gone. •

Manufacturers are uncertain as to where to invest. The recent wave of investment in RGB laser projectors, for example, hasn't led to a wave of new revenue. To a certain extent, manufacturers today tend to either follow each other, or simply take a wild shot (consider Barco's Escape), without guidance as to where new technology will and will not create value.

Industry guidelines would help, even if enforcement is not possible. Organizing an effort to develop industry guidelines is challenging but not daunting. Getting funding to make it happen, however, can be difficult. It's not as if no one would like for it to happen. But economics is making such steps hard to take, for several reasons. Among those reasons are the inefficiencies caused by multiple DCPs. There's an inherent conflict for studios in funding an effort to establish guidelines that could lead to an exponential growth in DCP's per major release. But there is also the lack of readiness of exhibition to absorb new technologies that must be considered. Without the luxury of VPF subsidies, new equipment purchases must be carried 100% by exhibitors. Given that subsidies tend to keep prices high, one would

expect projection equipment minus subsidies to drop in price. That would favor new technologies that make it cheaper to build a projector, or cheaper to operate a projector. But when keeping up with the filmmaker interest in higher dynamic range, higher frame rates, wider color space, and higher compressed bit rates, it's difficult to conceive that such technologies will lead to more affordable equipment that can be carried 100% by exhibitors. Studios are not willing to undertake another round of equipment subsidies. The last signal they want to put out is that cinemas need to upgrade capabilities. Industry guidelines would help manufacturers, too. Ultimately, manufacturers must provide value to exhibitors. But to what extent will higher dynamic range, higher frame rates, wider color space, and higher compressed bit rates produce images that are highly valued by the audience? R&D funding must be managed, and industry guidance as to where R&D funds are best spent is needed. 2016 could be the turning point for determining how the industry will manage new technologies in the cinema. Either an effort will be made to engage the creative community in establishing meaningful guidelines, or industry technology will be driven ad hoc by the creative whims of major directors, with all of the inefficiencies that such a path is likely to produce.


• TECHNOLOGY • Trusting the Trusted Device List In digital cinema, a trusted device list is a commercial product and service provided by numerous suppliers of Key Delivery Message (KDM) generation services. A KDM is required to unlock a movie for playout in a cinema. The Trusted Device List (TDL) confirms that the equipment for which the KDM is targeted is authentic and trusted. Maintaining an accurate TDL, therefore, is an important role of KDM service providers. However, common policies do not exist to guide such service providers. This is an important area to address as digital cinema moves towards an equipment replacement cycle. So as not to confuse those who have studied this technology, there has been an overloading of the term TDL. The DCI specification refers to TDL as a list of authorized equipment in the KDM. The purpose of the list is to marry a server to a projector, for example, by targeting the KDM to the server, and listing the projector as authorized external equipment. Separate the server from the authorized projector, and the KDM will not allow the movie to play. This functionality is well defined in the SMPTE ST430-1 standard for KDM, but the standard names the function AuthorizedDeviceInfo, and not TDL. This was done as the term TDL is commonly used by service providers to refer to the list of authorized equipment, which correlates equipment location information, serial numbers, digital certificate, and forensic mark identifiers, all of which are necessary for generation of a KDM. The process for managing the TDL has several components. Manufacturers are required by DCI to maintain a database of equipment certificates. Approved products from manufacturers must pass DCI compliance testing. As equipment is produced, each article

receives a unique digital certificate, signed by a root certificate of the manufacturer. The manufacturer lists the certificates in its database of approved products. Allowing authorized parties access to the database is an important step towards the establishment of trust across the system. Service providers that generate KDMs collect equipment serial numbers from exhibitors, associating serial numbers with equipment location. This is the foundation of a TDL. The TDL is completed with information received from the manufacturer's database. The twostep process just described isn't necessary if the digital cinema equipment is capable of exposing its digital certificate and forensic mark identifiers, a useful fact for automated population of TDLs. As equipment is taken out of service, the integrity of the TDL comes into question. It's easy to validate the authenticity of digital certificates by verifying the root certificate and the accompanying signature chain. But it's not easy to know if the equipment is no longer in service. KDMs created for such equipment could be a path to unauthorized playback of a movie, and potential piracy. This concern was expressed by several major studios during an industry meeting this month attended by exhibitors and major motion picture distributors. The integrity of the TDL is not a new subject. In public key cryptography, the usual mechanism for maintaining a TDL is the revocation list. Revocation lists are populated with the serial numbers of digital certificates that are no longer to be trusted. The problem with such lists, however, is that once an equipment's certificate is placed on a revocation list, the equipment is no longer trusted, and no longer of value. At the onset of digital cinema, there was concern from

exhibitors that revocation lists could be used irresponsibly or maliciously to block the legitimate use of digital cinema equipment. Exhibitors should continue to be wary of such lists. Instead of revocation lists, rules based on equipment usage should be employed to determine if equipment is actually in use. Digital certificates in a TDL that have not been used to generate a KDM in, say, three months, should be retired from the TDL. If put back into service, as could be the case with spare equipment, a call with the exhibitor may be in order to validate an unexpected request for a KDM. A mechanism as simple as this builds on the trust between distributor and exhibitor. Those service providers that generate KDMs may need to enforce such policies as a necessary step in doing business. There may be other ideas to consider, as well. The value of a simple and public policy for managing a TDL would be useful for both distributors and exhibitors. For distributors, it would provide a uniform policy for service providers to meet. For exhibitors, it would provide knowledge of what to expect when taking equipment out of and back into service. A public policy for managing TDLs would be a benefit to all.

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

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• TECHNOLOGY •

Turkish Cinemagoers Enjoy the Best Pictures Tim Potter of Sony 4K Digital Cinema surveys Turkey’s vibrant movie exhibition industry, where new screens are opening at a spectacular rate. And while many European audiences are still putting up with low-resolution pictures from older projectors, Turkish cinemas are giving the best possible experience with detail-packed 4K projection. Turkey’s cinema exhibition business is in impressive health right now, with more than 2,000 screens generating over 40 million ticket sales in 2015. It’s clearly a great time for Turkish cinemagoers. With consumer confidence riding high, new theatres are opening at an unprecedented rate. Hungry for better entertainment experiences, customers are packing auditoriums in big-screen multiplexes and smaller boutique cinemas. Reflecting a buoyant Turkish retail sector, over 100 new shopping malls are due to open in Istanbul and countrywide this year. Many of these sites will feature multi-screen cinemas, offering shoppers and families a welcoming environment to

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spend an afternoon or evening in air-conditioned comfort. One illustration of this optimistic economic mood is Mars Cinema Group. The forward-looking operator is currently fitting ten Cinemaximum theatres at sites from Ankara to Van, Mardin and Izmir with over 80 Sony 4K digital projection systems. “We’re offering the best cinema experience in all corners of Turkey,” explains Mars Cinema CEO Kurt Rieder. “And as we grow, our need for new projectors has grown. Combined with low ownership costs, Sony 4K gives our guests the picture quality they deserve.”

Tim Potter Sony 4K Digital Cinema

There’s a huge influx of enthusiastic patrons with money to spend. And theatre owners are responding enthusiastically with a premium, value-added product that there’s plenty of demand for. Super-sized screens and premium surround sound deliver a truly immersive entertainment experience that a night in front of the DVD player at


• TECHNOLOGY • home can’t begin to replicate. The tired cinema staples of popcorn and watery cola are being replaced by upscale food and drink options. With plush seating and attentive service, it all brings movie-going closer to the experience of flying business class or visiting a chic bar for cocktails with friends. So why is Turkey’s cinema market outstripping its European neighbours? Virtually all screen openings are at brand new sites, typically in urban areas, which is in contrast to the more mature Western European market where cinemas are now decades old. Many European screens went digital almost a decade ago, using early projectors based on more primitive DLP technology. These projectors are becoming increasingly unreliable, inefficient and expensive to run. They’re also power-hungry compared with today’s technology, while spare parts are getting harder to source. But the real problem is that Europe’s elderly first-generation DLP projectors are only 2K resolution – scarcely better than your High Definition TV at home. Every one of 18,000 Sony cinema projectors worldwide offers amazing 4K resolution. With four times the

pixel count of 2K it’s a revelation for viewing audiences, much like the switch from Standard Definition to Hi-Def broadcasts over a decade ago. Just as importantly, 4K projectors create richly coloured, high contrast images with bright, eye-popping highlights and deep, dark blacks. Compared with the flat, washed-out images from older 2K cinema projectors it’s a revelation. All this puts Turkey’s cinema operators at a big advantage. New screens don’t have to worry about the poorer picture quality and unreliability of older hardware. Theatres can future-proof right now, with 4K projection guaranteeing the best possible picture quality for years to come. And that’s exactly the strategy being adopted by leading Turkish operators like CINEMApink. The prestigious chain has steered away from inferior 2K systems, equipping all of its screens at fifteen sites with over 100 Sony projectors. “We’re very excited about installing Sony 4K” says CINEMApink CEO SelimYavuzoglu. “Our customers can get the very best experience with crystal clear picture quality and immersive sound” – all part of the operator’s mission to make every seat a VIP seat.

Projection in 4K makes movies look better. More film-makers are recognising this by delivering their productions as a 4K DCP – the ‘digital print’ that’s sent to theatres on a hard drive or by satellite link. This replaces the bulky reels of 35mm celluloid film that are in decline. 4K is also an increasingly popular artistic choice for movie-makers; director Nuri Bilge Ceylan was winner of the Cannes Palme d’Or in 2014 for ‘Winter Sleep’, shot by GökhanTiryakiusing Sony 4K cameras. All those extra pixels are great news for Turkey’s cinema owners and property developers. Our trailblazing customers have recognised that 4K is a great way to keep audiences loyal, with pictures that other projection technologies just can’t match. What’s more, our projectors save operators money, cutting running costs with easy operation and maintenance. So if you’re opening a new cinema – or refitting an existing screen – the choice is refreshingly simple. Are your audiences satisfied with the same image quality they’ll get at home? Or are you going to make sure they’re treated to the best possible pictures… today and tomorrow?

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• TECHNOLOGY •

GDC Takes China by Storm GDC Technology, a world leading digital cinema solutions provider, and DTS are working together to offer a premier immersive sound – DTS:X to cinemas worldwide. The product of their cooperation has taken China, the second largest box office in the world, by storm and continues its expansion across the globe. DTS:X format was introduced to Chinese moviegoers in July 2015 by GDC, which plays the major role in popularizing this format. By the end of 2015, GDC organized two movie premieres and seven public demonstrations. In the span of half a year, the soundtrack of 13 Hollywood and Chinese blockbusters were converted to DTS:X (the average gross in China of each of the 13 titles was USD 94 million). In February 2016, Chinese cinemas took in USD 1.05 billion, which made it the largest world box office in the world. The three leading titles were Hong Kong filmmaker Stephen Chow’s The Mermaid pulling in a historic USD 485 million, followed by The Monkey King 2 starring Aaron Kwok and Gong Li, which earned USD 167 million , and closing the top three is Wong Jin’s comedy-action From Vegas To Macau 3 with USD 167 million. What is common thing among those titles? They were all

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The Martian, which was nominated for Oscar 2016 Best Picture. Director Ridley Scott and Matt Damon have participated in this premiere, which indicates the interest of top movie makers in the format. The event was reported by 38 entertainment media outlets as well as promoted on 7 social media channels.

dubbed with DTS:X. Among some of the latest additions to DTS:X movie library is Oscar winning The Revenant starring Leonardo DiCaprio, which opened in China with strong USD 33 million, making China its top foreign market to date in just 3 days. The first premiere organized by GDC in DTS:X format was “Monk Comes Down the Mountain”, which took the top spot in the Chinese box office on the first week of July. The premiere included cast members and producers of the movie and was reported by 27 entertainment media outlets in China. The first premiere of the Hollywood blockbuster organized by GDC, was

GDC constantly promotes titles released in DTS:X format, through WeChat, one of the largest communication platforms in China. Those titles include such blockbusters as Mission Impossible: Rogue Nation, Terminator: Genysis and The Hunger Games: Mockingjay - Part 2. In spite of DTS:X being a newcomer to cinema immersive sound stage, the DTS:X format has already proven itself as one of the top players in terms of performance, as well as the trusted format for cinema technology authorities. DTS:X, along with Atmos, is being considered in formulating the standard for immersive sound by SMPTE. GDC selected servers are the only ones capable of decoding DTS:X, and the expansion of this format led by GDC is simply staggering. Within a bit more than half a year over 80 screens are equipped with GDC Immersive Sound Solution in China alone, with over 200 on the way, all of these screens are


• TECHNOLOGY •

located in top markets, such as Beijing, Nanjing and Guanzhou. This technology has become the choice of top cinema chains in China, such as UME International Cineplex, China Film Cinema and Jinyi International Cinema. Fourth largest theatre in China by box office revenue, Beijing UME Shuangjing International Cineplex has installed GDC Immersive Sound Solution in two of their auditoriums, one of which is Giant Screen. China Film Giant Screen has signed an agreement to make DTS:X its default sound format, 100th Giant Screen, built in Chengdu, capital of Sichuan province, is ready to provide DTS:X immersive sound experience to moviegoers. Some theatres, who are quick to recognize the potential of this technology have installed GDC equipment capable of DTS:X decoding in all of their auditoriums in Guangzhou and Nanjing.

So far the focus of GDC on expanding the DTS:X format was China, however the company has also already expanded to other markets such as USA and Hong Kong, and have committed installation orders in Korea. There are currently over 10 cinemas ready for DTS:X decoding in US with more to come. Top exhibitors in Hong Kong such as Palace and Golden Harvest have also equipped their top cinemas with GDC Immersive Sound Solution, one of which, Palace IFC is located in Central area, the central business district of Hong Kong. There are currently 11 committed installation orders in Korea, which is one of the top 10 international box office markets. In a December 2015 study, based on the “Survey Report on Audience Experience of DTS:X Audio System” conducted by EntGroup Inc on

23 December 2015 at one of the highest grossing theatres in China by EntGroup, of 47 independently-selected respondents who were shown movie scenes accompanied by the DTS:X and Atmos sound systems, the majority stated that the DTS:X soundtrack provided more satisfying sound effects and a better overall effect than the Dolby Atmos sound system. The future of DTS:X format looks bright, with more and more exhibitors willing to equip their cinemas with GDC servers capable of DTS:X decoding as well as studios aiming to explore the new opportunities, immersive sound provides. In the upcoming CinemaCon 2016, GDC will introduce their nextgeneration server, SX-4000 Standalone IMB as well as XSP-1000 Cinema Processor capable of decoding DTS:X. Strong collaboration between GDC and DTS is here to change the way the world experiences movies.

*Facts and figures referred from hollywoodreporter.com and variety.com

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• INSTALLS •

Novo Cinemas

Expanding Footprints in Middle East The much-anticipated launch of Novo Cinemas' best-in-class theatre at Dragon Mart 2, UAE, gives a boost to its expansion plans in the region. Novo Cinemas, a dominant player in the film exhibition market in the Middle East, continues to expand its footprint in the region. Following the successful launch of its newest state-of-the-art movie theatre at Dragon Mart 2, Dubai, Novo Cinemas announced its plans to continue expansion in the region during the course of 2016.

Rollout of 2016 - newest offering at Dragon Mart 2 retail complex The first official rollout of 2016 came with the opening of its muchanticipated Dragon Mart 2 location. The newest offering at Nakheel's new Dragon Mart 2 retail complex boasts 1,800 seats across 12 screens, the latest in film exhibition technology, spacious seating and luxury amenities, ensuring "A Great Time Out". The theatre delivers an exceptional cinematic experience that is sure to delight.

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Debbie Stanford-Kristiansen, CEO, Novo Cinemas explains, "There is a huge captive audience in International City, Al Warqaa, and the surrounding areas but in addition Dragon Mart's high visitors numbers on a daily basis from both tourists and regional residents especially from Oman and Saudi Arabia. We wanted to cater to these audiences. We always ensure with

every project, we carry out a detailed feasibility study, look at the location, look at the surrounding areas, look at the demographics of the residents, to ensure every Novo cinema we deliver is targeted and focused towards the customer/patrons. It's not a one size fits all, it's all about understating who are customers are and making sure we deliver something they want and need." She adds, "We are estimating catering to over 10,000 guests in the first couple of weeks, with a projected increase as awareness grows."


• INSTALLS • Novo Cinemas has been gaining ground in the region under the able guidance of Mrs Kristiansen, who brings a vast industry experience with her. Speaking at the launch, Mrs Kristiansen said, "We are extremely proud to welcome this latest Novo Cinema address at Dragon Mart 2. This new venue is in line with our vision to offer a truly memorable experience from start to finish to the Middle East's cinema lovers. We selected this strategic location to capture a unique target audience which includes local residents of Warqa'a, International City and surrounding areas, as well as shoppers and visitors from neighbouring GCC states including Oman and KSA who come to Dubai on the weekends." The Grand Opening of Novo Cinemas Dragon Mart 2 showcased the Movie Premiere Concussion featuring Hollywood great; Will Smith, along with traditional Chinese entertainment including dragon dances, martial arts, a traditional Chinese tea ceremony and calligraphy art. Top artistes from China delighted the audience with their performances and every guest received a calligraphic memoir of the magnificent launch party.

One of the Largest of Novo Cinemas Mrs Kristiansen informs, "Novo Cinemas at Dragon Mart 2 is among

additional 6 screens, thus bringing up the number of screens to 18 screens in total. It will have a reinvented and upgraded 7-Star hall as well as an IMAX screen. Novo Cinemas at Dragon Mart 2 ranks third in the largest cinema hierarchy, with 12 screens and over 1880 seats." our biggest cinemas in the UAE. It boasts 12 screens with seating capacity of 1800. Our biggest screen, screen 1 can accommodate 300 movie-goers! It comes fully equipped with state of the art technology, Dolby Atmos Surround Sound, E-kiosks and a lounge area and the latest in seating comfort engineering. The new venue is house to an upgraded F&B offering - gourmet popcorn, finger foods and brands displays for the Jelly Bean and Chai time. Novo Cinemas at Dragon Mart 2 is among our largest cinemas." "Currently, our largest cinema is our Megaplex at Ibn Battuta Mall - a venue that caters for 22 screens, and home to a glorious IMAX screen. This venue is also one of our first flagships to get a great make-over; our expansion and renovation plans will see massive investment in delivering new projects but also in renovations. Our second largest is Novo Cinemas at Dubai Festival City Mall and it houses 12 screens with a seating capacity of over 2000, and one dedicated 7-Star hall. Part of our refurbishment plans include Novo Cinemas at Dubai Festival City Mall which, once complete, will boast an

More Expansions Ahead As part of its expansion plans for 2016, Novo Cinemas will increase its contracted screen count from 129 in 2015 to over 200 in 2016 and will launch a number of additional locations during the course of the year including the much anticipated IMG World of Adventures, the world's largest temperature controlled Indoor Theme Park in Q2 as well as North Gate Mall in Qatar. Part of this year's strategy will also see the unveiling of the newlyrenovated Dubai Festival City multiplex including 7-star and IMAX and a further expansion of 6 additional screens, and the Ibn Battuta Mall Multiplex including two 7-star with a dedicated VIP lounge as well as renovations at both Megamall and Buhaira locations, ensuring all Novo locations are offering a Premium customer journey and experience. "Our 2016 expansion plans will see our numbers swell to a little over 201 screens with an estimate of over 25,000 seats to include our highly anticipated opening at IMG Worlds of Adventure in Dubai, our North Gate opening in Qatar, in addition to

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• INSTALLS • a couple of key strategic openings which will be announced in the near future. The aforementioned numbers also account for our renovation plans and expansions at Ibn Battuta Mall expansions to include 2x 7Star theatres; in DFC, where we are opening 6 additional screens to include an IMAX, as well as renovations at our Buhairah and Megamall venues. Our expansion plans continue in 2017 with our opening at Wafi City in Dubai and additional expansions across Qatar, Bahrain and Oman," says Mrs Kristiansen. Elaborating on the future of UAE's cinema market, she says, "There is always a market for new experiences, for Novo it's about setting the trend; not following what others are doing. We have always been known for innovation either through technology or design but at the heart of it all its about our customers and patrons, making sure we continually listen to them understand their needs and tailor each experience to fit as well as always ensure to deliver the best customer experience we can. We measure ourselves based on our delivery and commitment to our customers not based on bragging about numbers, anyone can do that, the proof is in the brand and the customer loyalty to the brand and we truly value our customers. This commitment starts with our board in

Qatar at ELAN Group, and their investment in the company, we are very fortunate to have exceptional ownership that fully supports our strategic growth visions for the region."

Novo Cinemas - one of Middle East's leading operators Novo Cinemas is one of Middle East's leading operators in immersive movie entertainment experience with an impressive number of facilities in UAE, Qatar and Bahrain. A passion for movies and a mission to entertain film fans everywhere, Novo Cinemas is the most expansive chain of theatres in the Middle East. Since its inception in 2000, Novo Cinemas has witnessed exponential growth to an unparalleled 129 screens and

23,000 seats in 15 locations across the UAE, Qatar and Bahrain. At its inception in the year 2000, Novo Cinema's flagship multiplex in Dubai, United Arab Emirates, was the cornerstone of an entertainment chain that was about to extend across borders and introduce to the region pioneering technologies such as online booking, e-kiosks and the first cinema-dedicated mobile app, UAE's first IMAX screen, in addition to the luxurious and revolutionary 7 star concept of film exhibition to name a few. In 2012, Novo Cinemas joined ELAN Group as part of the Gulf Film Group, creating a regional powerhouse in entertainment to provide the latest in film innovation and set worldwide standards in the area and beyond. Attuned to the evolving social habits and needs of today's movie-goers, in 2014 the corporate venture reinaugurated the chain as Novo Cinemas, with an identity that reflected a promise of complete entertainment experience. In the same year, Novo Cinemas opened doors at World Trade CentreAbu Dhabi, a strategic location in the capital's old central market. It also took premium cinema to Qatar, welcoming movie-goers at the luxury island destination of The Pearl-Qatar. The year 2015 witnessed Novo Cinemas' opening Bahrain's one and only IMAX theatre in Seef MallMuharraq.

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• INSTALLS •

Ciné Grand

Showcasing South East Asian Films Cine Grand opened its first 7-screen multiplex in Fremont City, California. The multiplex showcases South East Asian films which include movies in Hind, Telugu, Tamil, Kannada, Urdu, Punjabi, Bengali and Marathi languages. Cine Grand, the emerging multinational multiplex chain, now offers ultimate movie-viewing experience in bay area. Cine Grand has opened its first 7-screen multiplex in Fremont City. The multiplex is equipped with New Age High Definition sound system with all digital projections. All 7 auditoriums are customized with luxurious recliner seats which offer home like feel and comfort to its customers. The multiplex showcases South East Asian films which include movies in Hind, Telugu, Tamil, Kannada, Urdu, Punjabi, Bengali and Marathi languages.

speakers, a cost-effective 5.1 channel solution that provides coverage to all the seats in the house. Like all Ciné Grand locations, the Fremont 7 was uniquely designed by renowned international architects and engineers. It embodies the company’s “Grand Design of the Theatre” philosophy that echoes the local demographics and consumer

needs. It features a digitally lit marquee, plush carpeting and 180degree velvet reclining seats. Patrons can reserve their seats online in any of the seven auditoriums. The concession stand features an expanded menu that includes neighbourhood favourites. A 3D auditorium features the Christie CP2215, part of the Christie Solaria

Every Ciné Grand auditorium is powered by Christie digital cinema projectors and Christie Vive Audio, the cinema industry’s only purpose built line array speaker solution. Fremont 7 also boasts Christie’s latest corner channel surround Vive Audio March-May 2016

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• INSTALLS •

Series, a testament to Ciné Grand’s mission to create the best moviewatching environment by providing cutting edge cinema technology, coupled with exceptional attention to detail. “With more than six decades of experience in the exhibition industry, we are committed to setting the highest standard of movie presentation to audiences worldwide. No other ‘All Bollywood Cinema’ in North America can match our luxury cinema experience in this property,” said Michael Spaeth, chief operating officer for Ciné Grand in North America. “The combination of Christie digital cinema projectors and Christie Vive Audio immersive sound means we can provide the sharpest, most brilliant images available on the screen today, complemented by the superior audio performance of Vive. As we expand into the North American market, we look forward to continuing our productive partnership with Christie to bring the best in movie-viewing to neighbourhoods everywhere.” “The Fremont 7 reflects a commitment to outstanding customer service that is the hallmark of all Ciné Grand theatres,” said Patrick Artiaga, director of business development, Audio Solutions,

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• INSTALLS •

Christie. “We are proud to know that Ciné Grand’s pursuit of excellence in every facet of movie-viewing includes the use of the latest Christie projection and Vive Audio technology, ensuring every customer gets the ‘star treatment’ throughout the show.” Christie Vive Audio’s unique ribbon driver technology and line array

design, coupled with its exceptional timbre matching, enhanced voice intelligibility and low distortion unlocks the full dynamic range of the DCI digital cinema audio. The complete solution features the new corner surround solutions, as well as screen channels, wall and ceiling surround speakers that use unique ribbon driver technology in a single-

enclosure line array design, purposebuilt for cinema environments. Christie Vive Audio continues to strengthen its reputation worldwide as the next standard in immersive sound for cinema. It supports leading formats such as DTS:X, Barco Auro, Dolby Atmos, 7.1 and 5.1 surround sound.

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REVIEW

17 - 19 November 2015 Centro de Convenções of Frei Caneca Mall, São Paulo, Brazil

With 2000 attendees and the first laser demonstration in the region, the second edition of ExpoCine emerged as the biggest event of Latin America. Held in November 2015, the second edition of ExpoCine is also, officially, the second largest in the world, just behind CinemaCon held in the city of Las Vegas, USA. With the growing Latin American influence in Hollywood and almost complete digitalization in the region, the Latin film market has shown optimism regarding the future of the industry. With the advent of technologies such as 4D and the opening of VIPs and premiums formats, the market has evolved and presented opportunities and trends that were addressed in ExpoCine. The convention lasted three days and received attendees from Brazil,

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Mexico, Chile, Argentina, Paraguay, Bolivia, Peru, Venezuela, Colombia, USA, among others. The event schedule included lectures and panels with executives who came from Brazil and other regions, as well as presentations from seven studios, including six majors distributors of Hollywood. The convention trade show also increased compared to the previous edition and featured more than 50 booths. As the size of the event doubled in 2015, the expectations are much higher from the 2016 edition, scheduled for November this year.


REVIEW

8 - 10 December 2015 Hong Kong Convention & Exhibition Centre, Hong Kong

CineAsia 2015 was yet another successful chapter bringing together Asian cinema industry professionals, from cinema owners and suppliers to film buyers and distributors. This is where Asian cinema exhibition and distribution professionals come to do business. As the sister event to ShowEast and CineEurope, CineAsia maintained the same standards of programming, seminars, special events and suppliers. The event also screened major Asian and Hollywood films and curated programmes, specifically geared toward the needs of the Asian cinema exhibition community.

TheatreWorld at the Pub Bin

Seminars

Presenter:Mike Ellis, President & Managing Director, Asia-Pacific, MPA

MPA Seminar - Why Exhibitors Have Become Key Stakeholders in the Protection of Motion Picture Content

A Panel Discussion Presented by the InternationalCinema Technology Association (ICTA)

SHOW FEATURES

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Moderator:Ioan Allen, Film Audio Pioneer & Senior Vice President,Dolby Laboratories, Inc. Panellists:Joe Chang, President, Ambassador Theatres;Mark Shaw, Executive Vice President of Operations, Shaw Theatres

Maturing Asia Moderator:Sunder Kimatrai, Executive Vice President, Asia Pacific, Twentieth Century Fox International Panellists:Irving Chee, General Manager, Golden Screen Cinemas;, Shinzo Kanno, President and CEO, Tokyu Recreation; Mark Viane, CoPresident, Paramount Pictures International

Barco

Christie

Coca-Cola

Dolby

Galalite

GDC Technology

Gold Medal

Harkness Screens

Harman

Look 3D

Trade Show& Product Presentations Find the products and services you need from hundreds of suppliers to the movie theatre industry.

Screenings & Product Reels See Hollywood and major Asian films before they are released and find out what the movie studios and distributors have in store so you can make informed programming decisions.

Award Presentations DLP Cinema Marketing Achievement Award - CinĂŠpolis India Rentrak's Asia-Pacific Box Office Achievement Award - Universal Pictures International's Fast and Furious 7 Motion Picture Association (MPA) Asia-Pacific Copyright Educator (A.C.E.) - Sheila Timothy, Indonesia Director of the Year - Raman Hui Exhibitor of the Year - Seo Jung, CJ CGV Distributor of the Year - Jack Ledwith, Universal Pictures International

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EVENT CALENDER

2016 30 MARCH - 1 APRIL FICCI FRAMES MUMBAI, INDIA www.ficci-frames.com

11-14 APRIL CINEMACON LAS VEGAS, USA www.cinemacon.com

Master Image 3D

MX 4D

Osram

QSC

Qube Cinema

Schneider

Sony

Strong

Ushio

USL

Vista

Volfoni

20-23 JUNE CINEEUROPE BARCELONA, SPAIN www.cineeurope.net

23-24 AUGUST BIG CINE EXPO CHENNAI, INDIA www.bigcineexpo.com

19-23 SEPTEMBER KINO EXPO ST. PETERSBURG, RUSSIA www.kinoexpo.ru

24-27 SEPTEMBER INDYWOOD FILM MARKET HYDERABAD, INDIA www.ifm.co.in

9-13 OCTOBER AUSTRALIAN INTERNATIONAL MOVIE CONVENTION GOLD COAST, AUSTRALIA www.movieconvention.com.au

17-20 OCTOBER SHOWEAST FLORIDA, USA www.showeast.com

16-18 NOVEMBER EXPOCINE Sテグ PAULO, BRAZIL www.expocine.com.br

6-8 DECEMBER CINEASIA HONG KONG www.cineasia.com

DECEMBER ISB EXPO DUBAI, UAE www.isbexpo.com

2017 MARCH CHINA THEATER & CINEMA GUANGZHOU, CHINA www.gtcff.com

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REVIEW

14 - 16 December 2015 Dubai, UAE

Set in a spectacular sunny setting in beautiful Dubai, ISBE 2015 was a successful event indeed. The feedback from buyers, press and exhibitors has been positive all around. ISBE announced a positive result of more than 50% increase in unique exhibitors compared to last year. ISBE had a great working relationship with The Dubai Film Market and The Dubai Film Festival. The same is expected in 2016 and beyond.

feature hosted by Novo Cinemas, Reel and Vox Cinemas in a behindthe-scenes tour of the cinemas. The 2016 event is slated to focus on bringing more buyers from cinema chains in emerging as well as European markets.

Studio & cinema showcases -- two unique features of ISBE 2015 The studio showcase was presented by Gulf Film, EuropaCorp, and Empire representing Sony and Fox. The cinema showcase was a new

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PREVIEW

11 - 14 April 2016 Caesars Palace, Las Vegas

2016 is yet another milestone for CinemaCon! Since taking its first step in 2011, CinemaCon has evolved and grown to become the largest and most important gathering for the worldwide motion picture theatre industry. CinemaCon is a global event attracting attendees from more than 80 countries. Highlights From exclusive Hollywood product presentations debuting a slate of upcoming films, to mustsee premiere feature screenings, to the biggest stars, producers and directors, CinemaCon, the Official Convention of The National Association of Theatre Owners (NATO), will jumpstart the excitement and buzz that surrounds the summer season (and beyond) at the box office. The CinemaCon schedule will be broad, diverse, educational and fun, and will feature the largest cinema trade show in the world. It will appeal to and attract all facets of the international motion picture theatre industry— exhibition, distribution, marketing, publicity and advertising, internet and social media and of course, the theatre equipment and concessions manufacturers and dealers who will showcase the latest technological advances and innovative concession offerings at the trade show, which is run in association with partners at ICTA and NAC. As well, CinemaCon will once again incorporate a special day of programming geared just

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for the international marketplace, that being 11 April 2016. For the sixth consecutive year, Caesars Palace will be the home of CinemaCon. As one of Las Vegas’ leading casino hotels, the upscale surroundings of Caesars Palace will offer CinemaCon delegates the very best with its beautiful conference centre, the finest hotel accommodations, world-class restaurants, and the magnificent Colosseum, the stateof-the-art venue that proudly allows CinemaCon to showcase all studio screenings and presentations in the ultimate theatre setting.


Attendees Whether you work in Cinema Exhibition, Film Distribution or Production, or, in the Equipment or Concession fields, CinemaCon is where you should be, come 11 April. If you’re involved in Marketing, Advertising or the burgeoning field of Social Media Networking, CinemaCon is where you should be. And, should your field of expertise be in the design, construction or financing of movie theatres or the exciting world of digital cinema, then CinemaCon is where you definitely should be come. So, if it’s networking with peers old and new, being a part of exclusive studio presentations and screenings highlighting the upcoming summer slate of releases, catching up on what it takes to outfit and run a state-ofthe art motion picture theatre, sitting down and talking with the key executives and decision makers from the nation’s theatres, or, listening to some of today’s top stars and filmmakers, then you won’t want to miss out on CinemaCon 2016. Today’s moviegoer is savvy, discriminating and extremely knowledgeable. When it comes to selecting a theatre to see a film, that same moviegoer would rather drive the extra distance to ensure they are getting the ultimate, state-of-the-art presentation and theatrical experience possible. Today’s demanding moviegoer is looking for optimum picture and sound quality, theatre seats that provide

Schedule 11 • • • • • • •

April International Day Programmes Innovations Connecting Audiences in Digital and Physical Worlds Presented By: Anne Marie Stephen, CEO & Founder, Kwolia Adapting Our Organizations and Tools to Succeed In A Digital World Presented By: Julien Marcel, CEO & Webedia Us (Boxoffice Media & West World Media) Cinemacon 2016 Gala Opening Night Event Dolby Laboratories and Paramount Pictures - Experience The Magic And Excitement Of Omnia For An After-Party And Dinner Reception

12 April • The State Of The Industry: Past, Present And Future” And Studio Presentation From STX Entertainment • Grand Opening: 2016 Cinemacon Trade Show and Suites • Warner Bros. Pictures - “The Big Picture”, an Exclusive Presentation Highlighting the Summer of 2016 And Beyond • Sony Pictures Entertainment - an Exclusive Product Presentation Highlighting Its 2016 Films 13 April • Wednesday afternoon seminar series • Universal Pictures - 2016 Cinemacon Presentation 14 April • 20th Century Fox - A Special Presentation Highlighting Its Future Release Schedule • Experience the Magic Of Lionsgate - A 2016 Sneak Peek Followed By A Special Advance Screening of “Now You See Me 2 • Cinemacon “Big Screen Achievement Awards”

great comfort, a ticketing system that is quick and efficient, a concession stand that offers a diverse array of food and beverage items and a theatre setting that provides the best amenities imaginable-all of which makes that moviegoing experience worth driving the extra distance. Today’s cinema owner is just as demanding and discriminating when it comes to the building of new theatres or the remodeling and

maintenance of existing theatres. The theatre market is competitive and the stakes are high. CinemaCon serves that competitive, high-stakes market. Giving cinema owners from all over the world the opportunity to experience the latest and most important advances in the world of theatre equipment and concession products, CinemaCon offers the world’s largest platform geared specifically for the motion picture theatre owner. It is here that decision making cinema owners and executives walk the aisles, keeping an eye out for new equipment, products and services that will help make theirs the “go-to” theatres.

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PREVIEW

30 March - 1 April 2016 Mumbai, India

FICCI Frames 2016 is a three-day global convention, covering the entire gamut of Media & Entertainment like Films, Broadcast (TV & Radio), Digital Entertainment, Animation, Gaming, Visual Effects, etc. Nearly 2000 Indian and 800 foreign delegates encompassing the entire universe of media and entertainment are expected to attend the event. This unparalleled platform for exchange of ideas and knowledge is aimed at attracting active participation from delegates of both national and international companies with interesting seminars and sessions by who's who of the industry whose opinions make a world of difference to the industry we operate in.

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The interesting sessions with keynote presentations from speakers and panel discussions highlight key issues and challenges faced by the entertainment sector today. Galloping against time, the entertainment industry now has to catch up with the technological

advancements and meet the increasing needs of the internetfriendly user community.

Highlights • • • • • • • •

Focussed Sessions Renowned Speakers The FICCI Frames Market Technology Showcase Best Animated FRAMES (BAF) Awards Creative Workshops Structured face-to-face business meetings Country-specific delegations


F U T U R E

R E L E A S E S

A glimpse of movies coming soon‌ The Little Prince

My Big Fat Greek Wedding 2

Production Paramount

Production Universal Pictures

Director Mark Osborne

Director Kirk Jones

Starring ames Franco, Benicio Del Toro

Starring John Corbett, Nia Vardalos

Genre Animation, Family

Genre Comedy, Romance

Miracles from Heaven

God's Not Dead 2

Production Columbia Pictures

Production Pure Flix

Director Patricia Riggen

Director Harold Cronk

Starring Jennifer Garner, Kylie Rogers

Starring Melissa Joan Hart, Ernie Hudson

Genre Drama

Genre Drama

Batman v Superman: Dawn of Justice

Before I Wake

Production Warner Bros.

Production Relativity Media

Director Zack Snyder

Director Mike Flanagan

Starring Ben Affleck, Henry Cavill

Starring Kate Bosworth, Thomas Jane

Genre Action, Adventure

Genre Drama, Thriller

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F U T U R E The Boss

Criminal Production Universal Pictures

Production Summit Entert.

Director Ben Falcone

Director Ariel Vroman

Starring Melissa McCarthy, Kristen Bell

Starring Kevin Costner, Gary Oldman

Genre Comedy

Genre Action, Adventure

Hardcore Henry

Production Bleecker Street

Director Ilya Naishuller

Director Liza Johnson

Starring Sharlto Copley, Danila Kozlovsky

Starring Michael Shannon, Kevin Spacey

Genre Action

Genre Comedy

The Huntsman - Winter’s War

Production Walt Disney Pictures

Production Universal Pictures

Director Jon Favreau

Director Cedric Nicolas

Starring Bill Murray, Ben Kingsley

Starring Chris Hemsworth, Charlize Theron

Genre Action, Adventure

Genre Action, Adventure

Barbershop: The Next Cut

March-May 2016

Elvis & Nixon

Production STX Entertainment

The Jungle Book

TW-60

R E L E A S E S

Keanu

Production New Line Cinema

Production New Line Cinema

Director Malcolm D. Lee

Director Peter Atencio

Starring Ice Cube, Cedric the Entertainer

Starring Jordan Peele, Tiffany Haddish

Genre Comedy

Genre Comedy, Action


F U T U R E A Beautiful Planet

R E L E A S E S Free State of Jones

Production The Walt Disney

Production STX Entertainment

Director Toni Myers

Director Gary Ross

Starring Jennifer Lawrence

Starring Matthew, Keri Russell

Genre Documentary

Captain America: Civil War

Genre Drama, Action

The Angry Birds Movie

Production Walt Disney

Production Columbia Pictures

Director Anthony Russo

Director Fergal Reilly

Starring Chris Evans, Robert Downey Jr.

Starring Jason Sudeikis, Josh Gad

Genre Action, Adventure

Genre Comedy, Animation

Neighbors 2: Sorority Rising

I Am Wrath Production Lionsgate

Production Universal Pictures

Director Chuck Russell

Director Nicholas Stoller

Starring John Travolta, Christopher Meloni

Starring Seth Rogen, Zac Efron

Genre Thriller, Action

Genre Comedy

The Nice Guys

High-Rise Production Magnolia Pictures

Production Warner Bros.

Director Ben Wheatley

Director Shane Black

Starring Tom Hiddleston, Sienna Miller

Starring Russell Crowe, Ryan Gosling

Genre Thriller

Genre Comedy, Action

March-May 2016

TW-61


F U T U R E Alice Through the Looking Glass

Production Yash Raj Films

Director James Bobin

Director Maneesh Sharma

Starring Johnny Depp, Anne Hathaway

Starring Shah Rukh Khan, Vaani Kapoor

Genre Fantasy, Adventure

Genre Drama

Baaghi

Production 20th Century Fox

Production Utv Motion Pictures

Director Bryan Singer

Director Sabbir Khan

Starring James McAvoy, Michael Fassbender

Starring Tiger Shroff, Shraddha Kapoor

Genre Action, Adventure

Genre Action

Azhar

Ki & Ka Production Eros International

Production Balaji Motion

Director R. Balki

Director Tony D'souza

Starring Kareena Kapoor, Arjun Kapoor

Starring Emraan Hashmi, Prachi Desai

Genre Comedy

Genre Biographical

One Night Stand

March-May 2016

Fan

Production Walt Disney

X-Men: Apocalypse

TW-62

R E L E A S E S

Sarbjit

Production Swiss Entertain.

Production T-Series

Director Jasmine D'Souza

Director Omung Kumar

Starring Sunny Leone, Tanuj Virwani

Starring Aishwarya Rai, Randeep Hooda

Genre Drama

Genre Drama


TheatreWorld ::: March-May 2016  
TheatreWorld ::: March-May 2016  

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

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