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It’s been a year of technology boom. Laser Phosphor-illuminated projectors and immersive sound are the flavours of the season. With these revolutionary technologies buzzing around, cinema operators are yet to make up their mind. It’s a scenario of abundance of choices. AMC, an iconic destination for moviegoers, will soon become the top multiplex chain in the world after the completion of its acquisitions of Carmike Cinemas in the US, and Odeon & UCI Cinemas in Europe. This special issue features the inside story of AMC Theatres. It’s so difficult to get myself to believe Jim Patterson is no more. He was a great human being and friend I met. On my last visit to Major Cineplex, Thailand, he personally accompanied me to showcase all the Major Cineplex properties. As the director of business development, he is credited with enormously expanding the multiplex venues across Thailand, Cambodia and Malaysia. Every time I catch a glimpse of his poised smile on the cover page of our magazine (January - February 2015 issue), it refreshes my memories of meeting this man described as “one of the most colourful characters in Thailand’s cinema industry.”

Issue # 75 September-November 2016

Raghavendra T Editor-Publisher +91 9980 208 208

Sandeep Mittal Founder Editor Publisher

Authors & Writers Asra Shaheen Michael Karagosian

Asha Ranjith Sales & Marketing +91 9902 208 208

Varsha Naidu

Back home, the recently held Big Cine Expo 2016 in Chennai, India made a great impact on the cinema exhibition sector. The show has become the world’s second largest expo for cinema exhibition in terms of footfalls after CinemaCon. The exhibitors were overwhelmed with the scale and response. I strongly believe it’s going to be four times bigger in 2017. The two blockbusters in the last quarter, Salman Khan’s Sultan and Rajnikanth’s Kabali, created major buzz among moviegoers and raised more than INR 300 cr each at the box office! TheatreWorld is once again the media partner to the major trade shows ShowEast (17-20 October 2016) and ExpoCine Brasil (16-18 November 2016). See you all soon! Do not forget to pick your copy of TheatreWorld magazine 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.


September-November 2016

Subscription & Circulation +91 9108 208 208

Prabakaran R Online & Social Media Printing Ramya Reprographic, Bengaluru Cover Photo Courtesy Ian Tanaka

(AMC Theatre)

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

RNI # KARENG02795/10/1/2002-TC TheatreWorld is a 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.



This issue of TW has two sets of page numbers - International pages TW-1 to TW-56 for TW, and India pages TM-1 to TM-26 for TM. TM is inserted between pages TW-50and TW-51 of TW.


SPECIAL STORY TW-26 Adam Aron Taking AMC to New Heights


Jim Patterson

The Pride of Multiplex Industry


TW-31 Michael's Green Paper

TRADESHOWS TW-34 Review TW-35 Review TW-40 Preview TW-41 Preview -


@ BigCineExpo

TW-42 Preview TW-51





Smruti Cinema

Upholding the Single-Screen Legacy


Inox Kota

Moving Up in Rajasthan TM-15



Harman's First


Mukta A2 Cinemas

Back2Back Launches


PVR Cinemas

Reinforces in Maharashtra


Qube Wire

Driving the Global Digital Cinema Distribution Journey


September-November 2016


Immersive Sound at Citypride

The New Kid on Multiplex Block


Laser Giant Dome Cinema Coming to Cleveland D3D Cinema, in partnership with Christie, announced that the newly branded Cleveland Clinic Dome Theater at Great Lakes Science Center (GLSC) is about to receive a serious projection upgrade - the world's first giant dome cinema laser system. The theatre re-launch, complete with new seats and carpet, is set to open to the public in October. The new three-projector, laserilluminated projection system will replace the IMAX 15/70mm film projector that has been in place since the Science Center opened in 1996. The sophisticated digital laser system will feature ultra-high 6K resolution, high frame rate capability (up to 120 fps), and supreme contrast ratios. The state-of-the-art lasers are capable of delivering up to 150,000 lumens on the dome with a brilliant expanded dynamic range and colour gamut far beyond the capabilities of film-based and xenon-illuminated projection systems. "We are proud to be the first to market with this groundbreaking technology and I invite my museum colleagues to see this extraordinary dome laser system in action," said GLSC CEO Dr Kirsten Ellenbogen. "D3D and Christie are committed to quality. They've undertaken extensive R&D to arrive at a design that raises the excellence of our theatre to a whole new level. The new projection system broadens our


September-November 2016

access to content, improves our guest experience, and significantly lowers our theatre operating costs." "In a very short time period, D3D has made important and lasting improvements to the museum-based giant screen exhibition market," said Don Kempf, President and Founder of D3D Cinema. "Domes in our industry have been very patient, watching their flat screen colleagues upgrade and re-brand to realize huge financial benefits. Beginning next month, the large-format dome community can now take advantage of the same quality and remarkable operational and branding-fee savings. Thanks to our partnership with Christie and their laser technology, D3D is proud to stand with Great Lakes Science Center at the forefront of a new era in our industry." "With no fewer than four former dome operators on the D3D team, myself included, it was critical for D3D that we devise a laser dome platform that preserves, and even surpasses, the dome experience that viewers have loved for decades," added Andy Wood, Senior Vice President at D3D. "We made that promise to our dome clients from the start. While it's taken years of testing, the platform we're installing at GLSC absolutely delivers on this pledge. D3D now offers a premium laser solution designed for larger dome

venues and we continue to work diligently with our partners at Christie to introduce two new laser dome products over the coming year aimed at small and medium size dome screens. We are tremendously excited about what is on the horizon." "We are sincerely grateful to the GLSC leadership for trusting D3D through this process as well as to our partners at Christie for their diligence and technical wizardry," said Derek Threinen, VP of Business Development at D3D. "I encourage every dome theatre to join the D3D community - now approaching 20 per cent of the North American museum giant screen cinema market and rapidly growing. We at D3D are truly committed to a more vibrant, versatile and profitable museum cinema business." "Christie and D3D are committed to delivering the best solutions and our partnership with D3D on the Cleveland Clinic and other projects is a testament to that commitment," said Bryan Boehme, Director, Location Based Entertainment, Christie. "The Cleveland Clinic Dome Theater is a powerful example of what is possible in display technology and we're confident audiences will be delighted when they begin to experience it in October."

Christie's Laser Phosphor-Illuminated Projector Making Waves in China The newly-launched Christie CP2208LP laser phosphor cinema projector is making waves among exhibitors in China, who are being drawn to its many features, seemingly tailormade for the Chinese market. Delivering up to 11,000 native lumens of brightness for screens up to 35 feet, the 3D-capable Christie CP2208-LP is virtually maintenance free with no lamps to change, offers a lower total cost of operation, and provides a lower carbon footprint for theatre owners. It is available as a complete system with the optional Christie IMB-S2 integrated media block and also works with other, popular Series2 IMBs. It delivers superior content flexibility with its ability to display DCI content, alternative content, 3D content and content developed at high frame rates.

"Christie is a leader in projection technologies, renowned for delivering bright and colourful visuals to the cinema space. As an exhibitor, I'm very impressed by the performance and capabilities of the Christie CP2208-LP laser phosphor cinema projector. Not only does it deliver remarkable visuals, its attractive cost of ownership and elimination of the need for lamp maintenance makes it a very compelling product that deserves serious consideration for exhibitors with smaller auditoriums," said Xingsheng Jiang, General Manager, Red Carp Digital Cinema Group. Christie's valued partner Beijing Donview Technology Development Co., Ltd (Donview) has played an important role in generating strong interest in the CP2208-LP by staging a number of roadshows across China since July. So far, the events had been held in the cities of Chongqing, Guangzhou, Fuzhou, Wuhan, Hefei

and Changchun to enthusiastic turnouts by cinema owners and industry players. Attendees were not only provided with comprehensive information on the benefits of RGB laser and laser phosphor illumination, they also witnessed live demonstrations of the CP2208-LP featuring 2D and 3D content. Hongyi Liang, General Manager, Digital Cinema Division, Donview, commented, "Christie is well-known for its visual and audio solutions in the global cinema industry. The latest CP2208-LP is no exception - it is the clear choice for independent exhibitors, local art houses with limited budgets and remote sites where accessibility can be difficult for lamp maintenance. We are confident that exhibitors will readily embrace this high-value and DCI-compliant digital cinema projector." "The Christie CP2208-LP marks the next level of digital projection, and is fully designed, engineered and manufactured by Christie," said Jason Pei, Deputy General Manager, Christie China. "Reliable and easy-tooperate, it is capable of lighting screens up to 35 feet wide in DCI colour, supports various alternative content sources through dual HDMIover-DVI ports, and delivers images on the screen that are bright and engaging. The CP2208-LP can display a full range of content, from the latest Hollywood blockbusters to locally produced content from all over the world." Visitors at BIRTV can catch the Christie CP2208-LP in action at booth #2A236 from now until Saturday, and experience bright and lifelike visuals like never before.

Besides laser phosphor illumination, Christie's RGB laser projection technology is rapidly gaining followers in China. Producing the brightest images, the purest colours and the best 3D visual experiences, it represents the pinnacle of laserilluminated projection. To date, major cinema chains such as Shanghai Film Group, Wanda Cinema Line, Oscar International Cinema and Suning Cinema have deployed Christie's 6P laser projection system, as well as the similar RGB laser projection system with enhanced wavelength diversity, to counteract speckle on silver screens.

Cineworld Acquires Five Cinemas Cineworld Group plc announced the acquisition of five cinemas from Cinema Holdings Limited, the holding company of Empire Cinema Limited ("Empire") and the sale to Empire of the three screen Cineworld Haymarket ("the Transaction"). Cineworld will pay Empire an aggregate consideration of 94 million GBP1 for the Transaction. The cinemas purchased are: •

9 screen Empire Leicester Square multiplex, a leading London West End venue for movie premieres, which has a Laser IMAX screen

18 screen multiplex in Basildon, which has an IMAX screen

17 screen multiplex in Hemel Hempstead, which has an IMAX screen

16 screen multiplex in Poole, which has an IMAX screen and

A smaller 4 screen cinema in Bromley in Greater London

In recent years, extensive investment has been made into this portfolio. EBITDA for the twelve months to 31 March 2016 was £9m2, which includes only a partial contribution from additional screens, and the UK's first IMAX Laser in the Leicester

September-November 2016


Square multiplex, all of which were only opened part way through the financial period. The Directors believe that the Transaction will be marginally earnings enhancing for Cineworld within the current financial year and provide high single digit earnings enhancement in 2017, including some anticipated synergies. The 2017 growth will benefit from the full contribution of the new screens opened in 2015 and 2016, which are not reflected in the historic EBITDA performance. The consideration for the transaction will be 50% cash and 50% new ordinary Cineworld shares. The shares will be issued to Empire in 5 instalments during a 12 month period, based on an issue price reflecting 20 days' average trading price prior to the date of each issuance. The Transaction is unconditional and is expected to close before the end of August 2016. Cineworld will be notifying the Competition and Markets Authority ("CMA") of the Transaction on a voluntary basis. The timetable for completion will not be affected by the notification to the CMA. The Leicester Square, Basildon, Hemel Hempstead and Poole cinemas will take on Cineworld branding, while management is considering converting the Bromleycinema into a Picturehouse to make optimum use of its size and location. No further material capex is required due to the investment in the portfolio in recent years, and all the multiplexes are modern with state of the art equipment. Mooky Greidinger, Chief Executive Officer of Cineworld, said, "This acquisition brings Cineworld five modern and well invested venues complementary to our existing estate, including the iconic Leicester Square cinema in the heart of London's West End. It underscores our commitment to operating high quality and modern cinemas across all of our nine operating countries, and our mission to be the best place to watch a movie. I'm delighted that the Anderson


September-November 2016

family, well-known cinema industry veterans, have entrusted these sites to us. We welcome them as shareholders in Cineworld and look forward to delivering increased returns to all of our investors from integrating these cinemas into our group." Thomas Anderson, Chairman of Empire, said, "I'm pleased to have found the ideal partner in Cineworld to buy these sites. Their reputation as good operators gives me confidence in a bright future for the cinemas and their employees, and as a shareholder in Cineworld, I trust the company's ownership will enable it to maximise the value of these premium assets as part of its continued growth."

AMC Theatres Newly Redesigned Rewards Program Hits Record High AMC Theatres announced that approximately two months after enhancing the benefits of its paid membership tier and adding a free tier to its rewards program, AMC Stubs, the company has added more than 1.2 million households, hitting an all-time high of four million active member households. Active memberships are defined as an enrollee or someone in an enrollee's family having attended a movie at an AMC theatre within the current or past calendar year. Since the launching in July of a thoroughly re-designed program, AMC Stubs' two tiers, AMC Insider and AMC Premiere, combined to add

more than 1.2 million new active family memberships in the last few weeks of the busy summer season. Given a continuation of this pace, the AMC Stubs membership base is likely to more than double year over year by the start of the 2017 summer movie season. The number of new AMC Stubs members continues to climb daily at a brisk pace. New members are enrolling in the new AMC Stubs program at a rate more than 11 times the number of enrollments during the same period last year. "The new AMC Stubs has opened strong and to enthusiastic reviews from our guests," said Adam Aron, CEO and President, AMC Theatres. "Moviegoers want to be recognized and rewarded for coming to theatres, and the response to our new and improved AMC Stubs program has far exceeded even our most optimistic expectations." "The expansive growth of AMC Stubs provides AMC with a much larger database of identified moviegoers, and a better insight into their movie preferences," said Stephen Colanero, Executive Vice President and Chief Marketing Officer, AMC. "This enables AMC to have both a larger and a more focused marketing capability to support the movies of our Hollywood studio partners." In early July, AMC launched AMC Insider, a free tier to the rewards program that is increasing the number of AMC guests who are rewarded for simply coming to the movies. AMC Insider benefits include free refills on large popcorn, up to $2 off tickets every Tuesday, a free large popcorn birthday gift and 20 points earned for every dollar spent.

The company's paid tier, AMC Premiere, also saw a refresh that included the addition of new guest benefits. For a $15 annual membership fee, AMC Premiere members enjoy express service with specially marked shorter lines at the box office and concession stand, free size upgrades on popcorn and soda, a free refill on large popcorn, up to $5 off movie tickets on Tuesdays, a birthday gift (free large popcorn and soda), no online ticket fees and 100 reward points for every $1 spent. Every AMC Stubs member earns $5 to spend at the box office and concession stand for 5,000 points earned, and receives access to exclusive offers, screenings and more.

Vue International Unveils 85th Cinema Multiplex in the UK Vue International (Vue) opened a state-of-the-art multiplex in Darlington, the United Kingdom, marking Vue's 85th cinema in the UK - and 210th site globally. The new £4.6 million venue has nine screens - three of which are 3D - and contains 1,424 seats, including VIP seats and comfortable stadium seating. The auditoriums will contain all the features synonymous with Vue - including Sony 4K digital projection and Dolby 7.1 surround sound, offering viewers a rich cinematic experience that combines cuttingedge image and audio technologies. One of the innovations of Dolby 7.1 surround sound is the creation of four distinct surround zones in the theatre, enhancing audio definition and enabling greater realism in the cinema.

continue to deliver a premium entertainment big screen experience for our customers by owning, managing and developing the highest quality cinema assets around the world." The new venue is part of the new £30 million Feethams leisure destination which is currently taking shape in the town and has created 48 new jobs.

Cinépolis Expands Digital Cinema Partnership with Barco Across the Globe Since initially selecting Barco as its exclusive digital cinema projector partner in 2011, Cinépolis has significantly grown to operate nearly 4,000 screens featuring Barco projection technology across three continents. Cinépolis, the largest cinema chain in Latin America and the fourth largest in the world, has now decided to extend its partnership with Barco into the next decade, with plans to install more than 1,000 projectors in Latin America and across the globe to grow its ever-expanding circuit. Cinépolis has been a true cinema innovator with Barco in the region, becoming the first exhibitor in Latin America to bring laser projection to moviegoers when they deployed Barco's DP4K-60L at the Cinépolis Parque Toreo in Mexico City. Cinépolis was also the first to bring

Barco Escape to Latin America, proving once again, that they are supremely focused on fulfilling their mission of offering guests the latest in movie entertainment technology. "Barco's support goes beyond providing top-of-the-line projection solutions and best-in-class service levels," says Gabriel Morales, Cinepolis' Director for Technology. "We want to continue innovating together as Cinepolis believes that the sum of talents is the key to our success." Through focused operational and strategic attention, Barco has achieved leadership in Digital Cinema worldwide and in Latin America with a strong presence and the majority of the installed bases. Barco combines a strong global infrastructure and local support networks in each region, providing the customer intimacy one would expect from a dedicated presence. As Cinépolis expands its theatre circuit around the world, it can quickly and easily leverage Barco's existing network of service and parts centres to further streamline operations. "We are delighted to continue our strong partnership with Cinépolis, especially as they further expand into new key territories within the United States and Europe," said Ivan Cannau, Vice President for Barco Latin America. "By embracing our latest laser technology solutions, Cinépolis once again demonstrates their forward-thinking approach to high-quality cinema entertainment and their continued drive to provide the latest and greatest moviegoing experience for their customers."

The opening coincides with the release of Independence Day: Resurgence, this summer's highly anticipated action blockbuster. Tim Richards, Vue Founder and CEO, said: "This is another milestone as we

September-November 2016


4DX Coming to 17 Additional Regal Screens in Key US Markets CJ 4DPLEX announced that the company has signed a letter of intent with Regal Entertainment Group to bring its 4DX immersive cinema experience to 17 additional screens in the US by the end of 2018. This will include the installation of 4DX in Orlando, FL., and Seattle, WA, within the next few months. The partnership between Regal Entertainment Group and CJ 4DPLEX continues to grow following the recent openings of 4DX screens in New York City at Union Square Stadium 14 and E-Walk Stadium 13 & RPX in 2016. Beginning with the first ever US 4DX theatre at the LA LIVE Stadium 14, which launched in Los Angeles in June 2014, this will bring the total number of 4DX-enabled Regal screens to 20. CJ 4DPLEX's 4DX technology enhances the onscreen visuals of action-packed blockbusters, enabling a completely immersive event that transcends the traditional cinema experience through special effects including motion-activated seats, wind, fog, rain, lighting, vibrations and scents. The result is that 4DX, going beyond 3D, adds visual, aural, olfactory and tactile dimensions to the film-viewing experience, and lends itself perfectly to high-energy movies. There are now more than 34,000 4DX seats operating in 268 theatres in 41 countries - opening on approximately one new screen every two weeks as theatres recognize the power of the format.


September-November 2016

Cinemark to Install Luxury Lounger Recliners at 16-Screen Theatre in Allen Cinemark Holdings, Inc, a leader in the motion picture exhibition industry, announced plans to renovate and upgrade their Allen 16 & XD theatre located at the corner of HWY 121 & Lake Forrest Drive in Allen, TX. The first phase of the renovations and improvements will include installing electric Luxury Lounger recliners in all 16 auditoriums, including the XD auditorium, and the addition of a new lobby bar. The second phase will involve expanding the building to provide additional recreation and entertainment options as well as enhanced concessions offerings. The upgrades for the first phase of the theatre remodel will begin this month and will be completed in time for the holiday blockbuster season. "Since we opened our doors back in 2006, the Allen 16 & XD has been a preferred destination for our guests located in the Allen, McKinney, Plano and Frisco areas of the DFW Metroplex," commented Mark Zoradi, Cinemark's CEO. "We continue to develop and enhance our customer facing initiatives by providing an improved entertainment experience with the addition of our extremely popular Luxury Lounger recliners to all auditoriums." Moviegoers can download the Cinemark app to view show times, purchase tickets on-the-go, and join Connections loyalty program. Connections is a completely appbased program which rewards loyal customers with concessions and unique experiential prizes, including one-of-a-kind gifts, trips, digital downloads and games. Guests can also use CineMode and earn rewards for being courteous during movies.

Kinepolis Opens Europe's First All-Laser Cinema Theatre

Digital cinema leader Barco is thrilled to see adoption of its laser projectors expand rapidly across the world. Kinepolis Group will soon open Europe's first 'all-Barco laser' multiplex in Breda, the Netherlands. The brand-new, ten-screen Kinepolis cinema complex will feature one Barco Flagship Laser and nine Barco phosphor laser projectors. A longterm Barco customer, Kinepolis group has always been an early adopter of Barco's Flagship Laser projectors: in 2014, it was the first European cinema exhibitor to introduce Barco's Flagship Laser technology. The Kinepolis Group has been committed to providing Europe's cinema-goers with a unique movie experience ever since its foundation. Barco has been its trusted technology provider along the way. "Just like Barco, Kinepolis Group is on a constant quest to introduce new, innovative technologies that help bring back the magic of the movies. We knew that our investment in Barco's laser-illuminated projectors would help us bring the movie-going experience to new levels. We've been proven right," said Eddy Duquenne, CEO of Kinepolis Group. Duquenne and his team have now confirmed their trust in Barco's laser technology by going all-Barco laser in Breda. The largest auditorium in the Breda multiplex will feature a top-of-therange, ultra-bright Barco Flagship Laser projector (DP4K-30L). In the other cinema rooms, Kinepolis will install five DP2K-15CLP and four 20,000-lumen DP2K-20CLP laser phosphor projectors.

Henry Noel Joins Harman International markets and a vast clientele network, Mr Noel previously held regional technical support and sales roles at Christie Digital Systems USA, Inc., during which he made significant contributions by identifying new business opportunities and driving strategic expansions in the region.

Harman International, a company that designs and engineers connected products for automakers, consumers and enterprises worldwide, including connected car systems; audio and visual products, enterprise automation; and connected services, announced that Henry Noel is appointed as the Director of Business Development for Asia region. Mr Noel joined the cinema team of the company in Singapore in July 2016. He is a veteran in the theatrical exhibition industry with over 20 years of experience to his credit. With a good understanding of regional

Prior to joining Christie, Mr Noel served at Philips Singapore, Indian Space Research Organization (ISRO) and Indian Institute of Technology (IIT) where he held various technical positions. He has an electronics engineering background and holds a Masters in Business Administration.

IMAX and Cineworld Sign Five-Theatre Agreement IMAX Corporation announced an expansion of its partnership with Cineworld Group PLC for an additional five IMAX theatres. Under the terms of the agreement, the theatres will be

installed in new multiplexes in the UK and across other European markets. The parties also announced, under a previous agreement, that an IMAX theatre will be added at Cineworld's new, flagship complex located in Plymouth, England - a new area for IMAX. The five-theatre deal brings the Group's total IMAX commitment to 40 theatres, reinforcing the exhibitor's position as the largest IMAX exhibitor in Europe. "Cineworld Group is a long-time partner with a true commitment to the IMAX brand. Since 2012, the Group has nearly tripled its IMAX footprint and we're delighted that they continue to expand with us," said Andrew Cripps, President of International and EVP, IMAX Corporation. "With an IMAX presence that spans eight countries, both in developed markets such as the UK and emerging markets such as Romania under the Group's Cinema City brand, Cineworld's IMAX success is a testament to the fact that cinemagoers across diverse economic and geographic boundaries are willing to pay a premium for the best-quality experience."

IMAX and AMC Theatres Sign 25-Theatre Deal IMAX Corporation and AMC Theatres announced an expansion of the companies' existing full joint revenue sharing arrangement with the addition of 25 IMAX at AMC theatres. The theatres are expected to be installed in 2016 through 2019 at both existing and new-build AMC locations, with the majority of the IMAX at AMC theatres opening within the next two years. The cities include New York, Los Angeles and Houston as well as strategic smallertier markets that AMC and IMAX believe present further growth opportunities. The agreement brings AMC's total IMAX commitment to 185 theatres and reinforces its position as the largest IMAX exhibitor in North America. "We are delighted to further expand our partnership with our long-term partner, AMC. The deal is a further indication of the continued growth opportunities for IMAX in North America - where our box office grew by 87 per cent in the first quarter, fuelled by blockbuster titles such as Star Wars: The Force Awakens, Deadpool, and Batman v. Superman: Dawn of Justice," said IMAX CEO Richard L. Gelfond. "More than ever, audiences are seeking premium and differentiated offerings and, together with AMC, we will continue to deliver guests what we believe to be the best out-of-home entertainment experience for today's biggest event movies." "Box office returns continue to demonstrate that our guests enjoy the premium experience our IMAX theatres offer, and we are tremendously excited to be bringing this experience to even more guests and new markets over the next couple of years," said Adam Aron, AMC CEO and President. "We are committed to growing IMAX at AMC and expect to remain IMAX's largest U.S. partner for many, many years to come."


September-November 2016

AMC Theatres and Dolby to Accelerate Deployment to 100 Dolby Cinema at AMC Sites by End of 2017 In response to impressive guest reaction and the overwhelming success of Dolby Cinema at AMC in its first full year, Dolby Laboratories, Inc and AMC Theatres announced plans to accelerate Dolby Cinema at AMC installations to 100 operational sites by the end of 2017, seven years ahead of the originally announced schedule. The original agreement, reached in 2015, was for 100 auditoriums over a 10-year deployment. In addition, AMC and Dolby are collaborating on expansion plans to increase the amount of Dolby Cinema at AMC locations beyond the initial 100. To date, 22 Dolby Cinema at AMC locations are open around the country, earning rave reviews from guests. Eight more locations are currently under construction and approximately 50 are expected to be open by the end of this year. "The popularity and success of Dolby Cinema at AMC led to its expansion at an accelerated rate, with 22 locations already open and a few dozen more planned for 2016," said John McDonald, Executive Vice President, U.S. Operations, AMC. "It's clear that our guests enjoy the premium audio, vibrant contrast and colour, and the incredible comfort of the plush, power recliners at Dolby Cinema at AMC, and with this announcement, we're thrilled that more guests than ever will have access to this incredible experience." Since its launch in spring of 2015, more than one million Dolby Cinema at AMC moviegoers have experienced Hollywood movies from a variety of genres, including action, drama, science-fiction and fantasy. With support from all major Hollywood studios, 50 Dolby Cinema titles have been released or announced. Recent and upcoming

titles this year include Warner Bros. Pictures' Suicide Squad, Disney's Pete's Dragon, LAIKA and Focus Features' Kubo and the Two Strings, Paramount Pictures' Jack Reacher: Never Go Back, Marvel's Doctor Strange, Sony Pictures' Billy Lynn's Long Halftime Walk, Warner Bros. Pictures' Fantastic Beasts and Where to Find Them, Disney's Moana, Disney's Beauty and the Beast, Marvel's Guardians of the Galaxy Vol. 2, Disney's Pirates of the Caribbean: Dead Men Tell No Tales, Warner Bros. Pictures' Wonder Woman and Disney Pixar's Cars 3. Dolby Cinema at AMC includes award-winning technologies Dolby Vision and Dolby Atmos. The Dolby Vision laser projection system delivers high dynamic range with enhanced colour technology that produces incredible blacks and a contrast ratio that far exceeds any other image technology on the market today. The result is a richer, more detailed viewing experience that delivers strikingly vivid and realistic images that make audiences feel like they are in the movie's world. Dolby Atmos moves audio around the theatre, even overhead, with amazing richness and depth. The lifelike sounds of music, people and things flow all around the theatre in sync with the action to create a more immersive and moving experience. The inspiration for design elements came out of the desire to achieve technically superior sight and sound capabilities for all Dolby Cinema at AMC locations. The design of the cinema itself has been created to set a mood and draw audiences deeper into the story. Through the Dolby technology, combined with the ultimate comfort and experience of the AMC power, reserved recliners with seat transducers, guests will feel closer than ever to the action on screen.

Dolby Cinema Now Available in Asia Through Wanda Cinema Line Wanda Cinema Line Corporation Ltd and Dolby Laboratories, Inc announced the first theatres with Dolby Cinema in Asia at Wanda cinemas in Dalian, Changchun, Chongqing, and Jinan. Dolby Cinema, featuring Dolby Vision and Dolby Atmos, is a premium cinema offering for exhibitors and moviegoers that combines spectacular image and sound technologies with inspired design to make every visit a completely captivating cinematic event. On June 23, the grand opening of Asia's first Dolby Cinema sites at Wanda Cinema Line was held at Wanda Cinema's Dalian Kaide Heping Square site, attended by hundreds of guests, including filmmakers, media, movie enthusiasts, and Warcraft fans. In January 2016, Wanda Cinema Line and Dolby announced an agreement to open 100 Dolby Cinema locations in China over the next five years. Following the opening of the first four sites, Wanda Cinema Line plans to expand the number of operating Dolby Cinema sites in China to 10 by December 2016. Additional cities slated for Dolby Cinema include Beijing and Chengdu. Legendary/Universal Pictures' Warcraft is the first Dolby Cinema movie title released in China. In addition, DisneyoPixar's Finding Dory (China release date: June 17, 2016), Twentieth Century Fox's Independence Day: Resurgence (China release date: June 24, 2016),Paramount Pictures' Teenage Mutant Ninja Turtles: Out of the

Dolby Laboratories and Wanda Cinema Line Premiere the Next Generation Movie Experience in Asia.


September-November 2016

Shadows (China release date: July 2, 2016), and Warner Bros.' The Legend of Tarzan (China release date: July 19, 2016) are confirmed to be released in Dolby Vision and Dolby Atmos for Dolby Cinema in China, with more titles coming soon. Dolby Cinema features the Dolby Vision laser projection system, which uses state-of-the-art optics and image processing to deliver high dynamic range with enhanced colour technology and a contrast ratio that far exceeds that of any other image technology on the market today. The result is a richer, more detailed viewing experience that delivers strikingly vivid and realistic images and makes viewers feel like they are in the movie's world. Dolby Cinema also includes Dolby Atmos sound technology, which moves audio around the theatre, even overhead, with amazing richness and depth. The combination of Dolby technologies with the design and comfort of the Dolby Cinema makes audiences feel closer to the onscreen action. Since its launch in April 2015, more than 200 Dolby Cinema sites have been installed or committed to across the globe, with 26 Dolby Cinema sites currently in operation.

Harkness Screens Unveils Updated Digital Screen Verifier App Harkness Screens, the world's leading screen technology company and thought-leaders in on-screen brightness, has launched an updated version of its ground-breaking cinema white light meter app for iPhone. The new version now features a 5-point light reading option designed to allow measurements to be taken in accordance with the SMTPE/DCI guidelines for measuring

light on cinema screens. The software has been designed to guide users through the process providing outputs as both light readings in foot lamberts (fL) and as a percentage of uniformity from centre to edge. A low-cost, highly accurate light meter, the Digital Screen Verifier is a unique utility for iPhones that allows cinema engineers and exhibitors to ensure that brightness levels in digital cinema are regular checked and maintained. Quick and easy to use, this relatively accurate low-cost light measurement tool allows brightness readings to be taken (in foot lamberts) using white test patterns from a digital cinema projector. "The Digital Screen Verifier has proved an enormous hit with the industry democratising brightness measurement to a larger group of people than previously possible due to the high barrier to entry of traditional light meters. We believe the Verifier, along with our other light measurement tools in our Curolux range are helping to improve presentation quality which can only be a good thing for moviegoers around the world," says Richard Mitchell, VP Global Marketing & Commercial Development at Harkness Screens. The ground-breaking technology at the heart of the Digital Screen Verifier allows light readings to be taken accurately to within +/-1fL. Its unique functionality not only allows for light readings to be taken but also to be directly imported into Harkness' cloud-based Digital Screen Archiver tool in real-time to form a semi-automated entry-level solution for screen monitoring and auditorium maintenance.

Shanghai Film Corp Signs Deal with AAM to Deliver Lifeguard to 5,000 Screens Arts Alliance Media (AAM), the global leader in digital cinema software and services, announced that it has signed a new direct agreement with Shanghai SFC Film & Television Technology Development Co. Ltd (SFC Technology Co.) to deliver its Lifeguard system monitoring software. Lifeguard provides centralised equipment monitoring and support ticketing capabilities, enabling a comprehensive maintenance service to be provided to cinemas. The deal will see 5,000 cinema screens covered by AAM's Lifeguard, enhancing the capabilities of SFC's Network Operations Centre (NOC) as it serves both SFC screens and those of its external exhibitor customers. SFC Technology Co. is a subsidiary of Shanghai Film Corporation (SFC), which has been one of the leading companies in China's film industry. In 2014, SFC became the first Chinese exhibitor to use AAM's Lifeguard software to power a NOC. Initially, the NOC serviced around 500 digital cinema screens across the country. The new 10-year agreement will increase the number of screens monitored by SFC Technology Co. and also see the company become an exclusive Lifeguard reseller in China (P.R.C.) SFC Technology Co. will adopt AAM's Lifeguard in its NOC alongside selected modules of AAM's Producer and Screenwriter Plus solutions to also monitor content at each screen, providing early alerts to any problems such as missing KDMs or the scheduled content not being on the right server. The Log Collection module of Producer will also enable SFC to automatically collect comprehensive data on all playouts on every single screen. With the continued support of AAM's Lifeguard product, SFC's NOC now has the technology to service an ever increasing number of screens in the rapidly growing Chinese digital cinema market. Lifeguard enables SFC

to centralise all of its hardware monitoring within one NOC service, with features such as real-time monitoring with device status updates from entire cinema circuits showing immediately where there are any problems. Lifeguard also includes ticketing capabilities to ensure that support is being provided efficiently to the highest-priority issues.

Beth Figge Joins QSC Cinema as Business Development Director

Beth has extensive experience in the Cinema products industry, having served as Cinema Sales Manager for companies such as Dolby Labs, Doremi, Moving Image Technologies, Sony Cinema Products, and JBL Professional. She is also a member of the board of directors of the International Cinema Technology Association, who honoured her in 2014 with the prestigious "Allen Award" for outstanding contributions to the ICTA and the industry. As Director of Cinema Business Development, Beth will be responsible for cultivating customer relationships and developing new business through complete cinema system sales, by serving as a technology/product advocate for the QSC Cinema products portfolio.

Cineworld Group Selects AAM to Deliver TMS Software to Over 750 More Screens Arts Alliance Media (AAM), the global leader in digital cinema software and services, announced that Cineworld Group (CW), one of the largest cinema businesses in Europe and operators of the Cineworld chain, has selected AAM's Screenwriter Theatre Management System (TMS) software for over 750 more CW screens. AAM already supplies Screenwriter TMS software, as well as its Producer enterprise circuit management software, to Cineworld's 900 screens in the UK. This deal significantly extends AAM's software footprint across several new geographic areas, including Israel and Eastern Europe. The software implementation will allow CW's individual complexes across 9 countries to monitor and control content across all screens via an intuitive web interface. CW sought a robust solution that would improve management and efficiency of its extensive sites and screens throughout Europe and Israel. As an existing AAM customer, CW has already been seeing the benefits of Screenwriter across UK Cineworld sites and with this deal is extending the software platform across the larger pan-European circuit. "Customers today are expecting a particular experience when they choose to visit the cinema. From the foyer to the auditorium, audiences want an exceptional visit - and investing in advanced software to maximise and improve the efficiency of our cinemas is key to achieving high quality customer experiences," said Renana Teperberg, CCO at CW. "Teaming up with AAM means that all our sites will be using the same platform to help us deliver a great cinema experience for all cinemagoers, every time, not just today but for our future too."

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CW is the second biggest cinema operator in Europe, spanning over 200 multiplexes and providing 175,000 audience seats and as such needed a solution that would efficiently run across all screens with differing equipment throughout numerous countries. By embracing a consistent TMS solution, CW is mirroring Cineworld's operations across UK screens and deploying a proven way to improve cinema management.

Ymagis Launches EclairColor, Its New Feature Film Mastering and Screening Technology Ymagis Group, the European specialist in digital technologies for the cinema industry, announced that it unveiled its new EclairColor mastering technology at the recent CineEurope convention held in Barcelona (Spain) 20-23 June 2016. The revolutionary proprietary solution combines a new feature film mastering process with specific projection system technologies in cinemas. The culmination of extensive tests, the new technology was created by Eclair engineers during the first half of 2016. "EclairColor allows us to obtain better image contrast and greater colour fidelity," explained Jean Mizrahi, CEO and Chairman of Ymagis Group. "The result is striking and the image projection quality incomparable, as was clearly demonstrated during our screenings for a selection of


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international distributors, exhibitors and technical directors at CineEurope. The test screenings were carried out using a dual Sony Digital Cinema 4K projection system (SRX-R515DS) installed and adapted for this purpose by our Group's engineers. Held at the Cinesa Diagonal Mar, the presentation consisted of the side-by-side comparison of film excerpts and trailers remastered using the EclairColor process." "As well as other higher image resolution technologies and High Frame Rate (HFR), EclairColor offers cinema exhibitors the opportunity to considerably enhance the quality of their screenings," said Georges Garic, Deputy CEO of Ymagis Group. "Another significant advantage with EclairColor is that it has been developed around a range of digital cinema projectors already available on the market, meaning cinema exhibitors can begin using this new technology virtually immediately and at very attractive rates." "In the coming weeks, we will be taking steps to launch EclairColor and allow directors, producers, distributors and cinema exhibitors to visually enhance the moviegoing experience," explained Christophe Lacroix, Senior Vice President of Eclair. "We, of course, continue to actively support any initiatives related to the definition of the future standards such as HDR (High Dynamic Range). In addition, EclairColor technology will adhere to all future standards." Ymagis Group states that it will be possible to equip all types of cinemas, regardless of screen size, to project films mastered using EclairColor technology. The equipment can be used to project EclairColor mastered content as well as standard content. The success of EclairColor will be dependent on two essential factors: the early adoption of the new technology by movie directors, directors of photography (DPs) and content distributors, and the sustainable development of a network of screens capable of screening EclairColor mastered content. EclairColor is a registered trademark of Ymagis Group.

Russian GRINN Film Multiplex Goes All-Laser and All-AuroMax Russian developer GRINN owns a growing number of shopping and entertainment centres, including multiplexes, dotted throughout Russia. The brand-new MEGA GRINN shopping mall in Kursk, southern Russia, is to open in September this year. For the centre's new multiplex, GRINN wanted nothing but the very best projection and sound technology, to offer the audience a mind-blowing movie-going experience. Confident that laser technology is the future for movie theatres, the cinema exhibitor resolutely chose to install laser projectors. Barco's laser portfolio includes a very broad range of projectors, to bring superior image quality to every theatre. The two largest cinema rooms in the nine-screen Kursk multiplex will feature a top-of-therange, ultra-bright Barco Flagship Laser projector (one DP4K-60L and one DP4K-45L). In the other rooms, Kinocomfort, the system integrator of the project, will set up three DP2K15CLP and four 20,000-lumens DP2K20CLP laser phosphor projectors. As the throw distance in the theatres is very short, the laser phosphor projectors will be fitted with ultrashort lenses (2K:1.0-1.29) to ensure a correct image ratio. To offer its audience even more 'magic', GRINN has now decided to equip its all nine new theatres in Kursk with AuroMax, Barco's immersive sound rendering technology. AuroMax combines the best of object-based audio technology by Barco Audio Technologies (formerly IOSONO) with the Auro 11.1 by Barco immersive sound format - which GRINN is already using in three other cinema theatres. It will help the Russian multiplex to further step up the premium moviegoing experience with the most natural immersive sound possible at up to half the cost of a typical objectbased sound system.

CinemaNext Signs Agreement with Austrian Cinema Chain Cineplexx for Melody TMS and Symphony Circuit Management Software CinemaNext, the specialist in exhibitor services for the motion picture industry, announced an agreement with Austrian cinema chain Cineplexx, a subsidiary of Constantin Film Holding GmbH., to deploy the company's proprietary Melody Theatre Management System (TMS) and Symphony circuit management software across its entire network. This represents a total of 228 screens and 31 different sites. The roll-out is expected to begin this summer at all Cineplexx cinemas located in Austria, Italy, Croatia, Albania, Montenegro and Serbia. The deal was concluded during last week's CineEurope, the European convention for major, regional and independent cinema exhibitors, in Barcelona (Spain). "Selecting both Melody TMS and Symphony is a tremendous vote of confidence for our technologies from Cineplexx, which is known for being at the forefront of technological innovations in Europe," explains Christof Federle, CinemaNext Regional Manager for Austria and Eastern Europe. "Currently operating on 1,300 screens, Melody is a fullyfeatured TMS at the cutting edge of technology. We are constantly working to adapt this solution to exhibitors' evolving needs such as the upcoming mobile app, which allows users to transform the auditorium into a conference room by controlling every feature (projection, sound, light). Our brand new software solution for cinema chains,

Symphony, helps connect, visualize and oversee a widespread group of cinema complexes from one central site resulting in significant time savings by allowing users to remotely schedule all shows for their cinema network". "We are thrilled to strengthen our collaboration with CinemaNext by deploying their innovative proprietary Symphony and Melody TMS solutions in our cinemas," said Christian Langhammer, Managing Director of Constantin Film Group in Austria. "The fact that these new reliable solutions have been designed and produced from an exhibitor perspective to be as intuitive as possible as well as allow the automation of many time-consuming and error-prone processes is essential to delivering trouble-free and superior cinematic experiences to moviegoers." The Melody TMS is compatible with any third-party software (e.g., digital signage, points of sale), making it fully automated and therefore requiring less human intervention. It is also interoperable with all existing server technologies. Symphony provides a real-time monitoring interface that allows exhibitors to ensure cinemas are running smoothly and help detect any potential errors. Later this year, local cinema exhibitors will no longer need to spend time programming every week as they will have the ability to use centralized playlists and schedules created by central booking department across all cinemas.

Severtson and Bardan Provide 12 Cinema Screens & Giant 3D Cinema Screen for Cineplanet's New Mall

Severtson Screens, a global leader in innovative and quality projection screens for the cinema, commercial, pro AV, and home theatre markets, and Bardan Cinema announced that Severtson has provided 13 cinema screens, including a Severtson S?Vision 3D GX giant silver perforated screen measuring in at 33.8 ft x 63.3 ft (10.3m x 19.3m) for the Cineplanet's new Mall del Sur multiplex located in Lima, Peru. The new Mall del Sur is the largest mall in Peru. "The popularity of our cinema and giant 3D screens is continuing to grow within the international market," explained Toby Severtson, president and CEO of Severtson Corp. "Lima's Mall del Sur multiplex is now one in a long line of our giant screen projects throughout South America." Added Dan Maxwell, Severtson Corp VP & Chief Operating Officer, "The additional 13 screens (three silver and 10 white), including the giant S?Vision 3D GX giant silver perforated screen and other technological advances that outfitted the rest of the multiplex make it a world-class venue. Cinema owners and integrators are increasingly becoming aware of the advantages of Severtson's giant screens, including our new folded technologies, which allow for even more cost effective shipping options worldwide." September-November 2016


Cineplanet is the first cinema operator in Peru to install Barco's new premium Flagship laser cinema projectors, offering patrons an unprecedented premium cinema experience while reaping the rewards of greater operational efficiency. Bardan Cinema, one of the largest cinema integrators in the Americas, was involved with the project's visioning, design and installation of the audio, projection, seating, screens, lighting and concession equipment. "We are pleased to work with and provide the Severston Screens line to our customers," said Vilma Benitez, CEO of Bardan Cinema. Severtson's SeVision 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

Perfect for all large cinema applications, such as movie houses, museums, universities, etc.

Severtson Corporation is a member of the Giant Screen Cinema Association. They have manufactured cinema screens for theatres in countries all over the world, including the United States, Mexico, Canada, Korea, Japan, Brazil, Indonesia, Singapore, Spain, Germany, France, New Zealand, Australia, Netherlands, Thailand, Scotland, China, Russia, and many more. To meet the challenge of creating extremely large screens, Severtson Corporation designed a robotic spray-arm application system to paint its high-performance optical coating in-house on screens as large as 67.75ft.x 150ft. (20.7m x 45.8m). It is currently the largest in-house cinema screen optical coating system in the world. Severtson Screens certifications and partners include Technicolor, MasterImage, Dolby, Volfoni, LightspeeD & DepthQ and RealD. Approaching its 30th anniversary in 2016, Severtson Corporation continues to be a global leader in innovation and quality. The Severtson family's extensive experience in manufacturing small home theatre screens and large cinema screens has given Severtson Corporation the expertise to meet the needs of the professional and consumer AV markets for both indoor applications as well as large outdoor venues. With its three Arizona-based production facilities and its state-of-the-art

robotic application system, Severtson has massive production capabilities and an unusually wide array of screens. The screens range in size from massive movie theatres, comfortable home theatres, and everything in between.

QSC Wins Cinema Manufacturer of the Year - Again For the second year in a row, QSC Cinema was honoured with the prestigious "Teddy" Award, an annual award voted by dealer members of the International Cinema Technology Association (ICTA). The award recognizes the ICTA Manufacturer of the Year who best exemplifies the progressive principles of product development, and provides the dealers with service and up-to-date technical and sales information, while supporting the status of their product without qualification. The Teddy Award was presented to QSC at the recent annual ICTA Convention in Vancouver, BC, Canada. "I can't tell you how honoured we are to receive this recognition from our dealers," says Barry Ferrell, Senior Vice President and Chief Strategy Officer of QSC. "The award criteria represents many of the goals that we strive for as an organization, and this honour verifies that we are in fact making progress toward providing the level of service that our dealers and their end customers deserve." Ferrell also heads the Cinema business unit for QSC. This is the third time that QSC has won this honour, and only the second time that a manufacturer has won it two consecutive years in a row. The International Cinema Technology Association is a global network of professionals in the motion picture industry. Members of the ICTA are those companies that manufacture, service and create the equipment that goes into movie theatres.


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Volfoni Becomes KinoMax Provider of 3D System in Partnership with Nevafilm Volfoni, the globally known French 3D equipment specialist, announced a partnership with Nevafilm, the leading Russian cinema integrators and the leading Russian cinema exhibitor KinoMax. The new highend multiplex to be opened by KinoMax, which will be opened in the nearest time, will be equipped with Volfoni's 3D system. This partnership is opening a way for a long cooperation between companies. To adapt to the large variety of KinoMax' installations, Volfoni provides a 3D one-stop shopping. For the larger screens, installations will be made with the innovative SmartCrystal Diamond powered by the patented compact triple beam technology. This system provides best-in-class light efficiency with NOC integration and energy savings. Already over 1000 have actually been installed. For other screens the brand new SmartCrystal Cinema Neo, will

be used. These systems are made in Europe and are as competitively priced as low costs me-too providers.

IMAX and Sichuan Lumière Sign 10-Theatre Agreement IMAX Corporation, IMAX China Holding Incand Sichuan Lumière Pavilions Company Ltd, a leading exhibitor in China, announced a full revenue share agreement for 10 new IMAX theatres. The theatres will be added to new projects located in Tier One and Tier Two cities throughout China and are slated to be installed by the end of 2019. The deal brings Lumière's IMAX total to 19 theatres. "We consider IMAX a key competitive advantage for our business and the agreement is a direct result of the success we've experienced to date with IMAX, which generates incremental

box office for our complexes," said Jimmy Wu, Founder, Chairman and CEO of Sichuan Lumière Pavilions Company Ltd. "IMAX has become a part of the moviegoing mindset of people in China and we look forward to offering our patrons more of the best films around worldwide in the premium, state-of-the-art IMAX format." "We are delighted to expand our relationship with Lumière - a valued partner that will bring new IMAX theatres to popular shopping malls in excellent locations across the country," said IMAX Corp. CEO Richard L. Gelfond. "In the first quarter of this year, our signings growth in China was up 171% from last year. The agreement, along with our recently announced 40-theatre deal in China, signals that this momentum continues. With our end-to-end technology, high brand awareness in China, and the steady rapid expansion of the cinema business, we believe there is a sizable opportunity for us to continue expanding in China well beyond our current footprint."

Suning Cinema Selects Christie RGB Laser Projection System for its Theatres Zhenjiang Suning Cinema is the first theatre in China to deploy Christie's RGB laser projection system featuring enhanced wavelength diversification. Suning Cinema, a wholly-owned subsidiary of Chinese electronics retail giant Suning Commerce Group, has deployed its revolutionary RGB laser projection system for its new theatres located in Shanghai and Zhenjiang to deliver the ultimate 3D viewing experience for movie-goers. A state-of-the-art Christie 6P laser projection system comprising a pair of Christie CP42LH 3DLP 4K RGB laser projection heads, and a 6P modular laser light farm with fiber-optic delivery has been fitted in Hall 6 of Shanghai Fengxian Suning Cinema, which was officially opened on July 16. The system represents the pinnacle of laser-illuminated projection by producing the brightest images, the purest colours and the best 3D movie experiences. The premium auditorium of Zhenjiang Suning Cinema - located within the new Suning Plaza shopping mall in Zhenjiang, Jiangsu Province - is equipped with a Christie RGB laser projection system featuring enhanced wavelength diversification (EWD). It is the first cinema hall in China to deploy the Christie CP42LH and laser modules that generate white light from multiple combinations of RGB primary colour wavelengths to counteract speckle and offer a spectacular viewing experience on silver screens. Both cinema complexes have officially commenced commercial operations. Christie will continue to work with Suning Cinema to have more visual solutions installed in its new cineplexes across the country. "We have compared several 3D cinema projection systems but nothing comes close to the quality and performance of the Christie CP42LH, which we have installed in our large screen auditoriums," said Dalei Duan, General Manager,


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Cinema Operations, Suning Cinema. "This is the most vibrant, colourful and breathtaking 3D visual experience that I've ever seen in a large screen theatre. We're pleased to note that the Christie CP42LH delivers remarkable performance in our theatres at both locations, and have no doubt that patrons are getting the best possible visuals that will heighten their enjoyment of the movie playing on screen." Duan noted that although Zhenjiang Suning Cinema is a new player in the market, it has laid out ambitious plans to open 200 movie theatre complexes across China within the next five years. "We are working doubly hard to offer the best cinematic experience to all our customers. There are enormous opportunities to be tapped in cultural assets development and with the increasing demand for cultural assets such as cinemas, we believe that collaborating with Christie and investing in the best visual technologies, such as the RGB laser projection system, is the way to go," he added. Jason Pei, Deputy General Manager, Christie China, commented, "Our groundbreaking 6P laser projection system is designed to achieve exceptional brightness in 3D to provide audiences with a truly unforgettable cinema experience, while the CP42LH RGB laser projection system featuring EWD significantly reduces the impact of speckle on silver screens. The latter enables exhibitors to continue using their existing silver screens and passive 3D systems, which in turn translates to significant cost savings. We are delighted that Zhenjiang

Suning Cinema has placed its trust in our cutting-edge RGB laser projection systems, and we look forward to more collaboration in the future." Lin Yu, Vice President, Christie Asia Pacific, added, "I would like to congratulate Zhenjiang Suning Cinema for being the first cinema chain in China to deploy our Christie CP42LH featuring EWD to deliver an unparalleled laser projection and viewing experience. This system, together with the 6P laser projection system installed in Shanghai Fengxian Suning Cinema, have redefined the cinematic experience by allowing audiences to enjoy brighter, clearer and more vibrant visuals like never before. We look forward to working more closely with Suning Cinema, and having more exhibitors installing our RGB laser projection system in their premium large format theatres across China, including those from second and third-tier cities." 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. Since its rollout two years ago, Christie's RGB laser projection system has become the preferred choice for a premium 3D cinema experience in a number of cinema chains around the world. In Asia, theatres equipped with Christie 6P laser projection technology include Tongzhou Wanda Cinema in Beijing, the iconic Shanghai Film Art Center, and SM Seaside City in Cebu, the Philippines. Specific to Christie's RGB laser projection systems featuring EWD, they are also being embraced by exhibitors in the region. Besides Zhenjiang Suning Cinema, South Korea's largest multiplex cinema chain, CGV, has also installed this system at SphereX CGV Youngdeungpo in Seoul, Republic of Korea.

ADAM ARON TAKING AMC TO NEW HEIGHTS Providing the best-possible movie experience to its patrons, AMC Theatres is all set to become the largest cinema chain in the world. TheatreWorld catches up with Adam Aron, CEO and President, AMC Entertainment Holdings, to check out his plans for this iconic destination for moviegoers.

Soon-to-become the largest cinema chain in the world, AMC Theatres serves approximately 200 million guests each year with industry-leading guest satisfaction ratings. Headquartered in the metropolitan Kansas City area, where it has been since its foundation in 1920, AMC Theatres is the second largest cinema chain in the world today. Operating six of the top 10 highest grossing theatres in the US, AMC has the No. 1 market share in the top threemarkets (NY, LA and Chicago). With interests in 386 theatres with 5,334 screens across the US, AMC strives to deliver greater comfort and better cinema viewing experience to its patrons. With best-in-class amenities such as plush, power recliners, MacGuffins full bars, Dine-In Theatres, premium presentation formats including Dolby Cinema and IMAX, AMC is recognized as the industry leader and an iconic destination for moviegoers. It all started when the son of one of the original owners returned from serving in the army and took over a successful Midwestern family business. Stanley Durwood saw one screen in one building as limiting. So he began remodeling several large single-screen theatres into smaller buildings with multiple auditoriums. That was the beginning of the first multiplex

theatre in the world! The success was massive, and the theatre served as a blueprint for the industry. By 1968, Durwood’s multi-screen theatre chain had expanded nationwide and was incorporated as American MultiCinema, Inc (AMC). In recent years, AMC has continued to lead the industry by doing what it does best: focusing on its guests and providing the best-possible movie-going experience. Backed by its majority shareholder, The Wanda Group, AMC led the charge on the instillation of plush, power recliners, massively expanded and improved food and drink options for guests, including the introduction of MacGuffins Bars, and Coca-Cola Freestyle machines, and has made moviegoing more immersive than ever through an expanded partnership with IMAX and the introduction of Dolby Cinema. Adam Aron, who joined AMC Entertainment Holdingsas CEO and President in 2016, has taken the company to new heights. This year, AMC announced the acquisitions of both Carmike Cinemas in the US, and Odeon & UCI Cinemas in Europe. Upon completion of either of these transactions, AMC will be the largest theatre chain in the world. TheatreWorld catches up with Adam Aron to check out his plans for one of the leading cinema chains in the world.

Tell us more about AMC Theatres and the group. AMC is a leader in consumer experience in cinema. We operate six of the top 10 highest grossing theatres in the US., and have the No. 1 market share in the top three markets (NY, LA, Chicago). We have not only propelled industry innovation but strive to deliver greater comfort and convenience, enhanced food & beverage, greater engagement and loyalty, premium sight & sound, and targeted programming for cinema patrons. Coming from hospitality industry, you are relatively new to cinema exhibition industry. What made you shift and how has the change been? What drew me to the business of film exhibition is movies! Who doesn’t love going to the movies!? I’ve run entertainment-focused companies for most of my career, from ski resorts to cruise lines, and an NBA team. But there was both a challenge and a passion to taking the helm at a movie theatre company. I’ve been here since about eight months, and we’ve already accomplished significantly in this period. As a CEO, what exactly is your vision and mission for AMC? How many locations and screens in how many countries and within what time-frame do you aim for? Ultimately, I’m interested in growing AMC to be the biggest, and hopefully the best cinema chain in the world. Once either of our current transactions goes through, we’ll be the biggest in the world. And as we continue to enhance the moviegoing experience through AMC’s innovative guest-focused initiatives, including recliner-seating, AMC DineIn Theatres, MacGuffins bars, our partnerships with IMAX and Dolby, and our AMC Stubs program, I believe strongly that AMC will continue to lead the industry. Tell us about the recent Carmike Cinemas and UCI & Odeon Cinema Group acquisition.

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We’re very excited about both. Each presents significant opportunities for AMC, our shareholders and movielovers both in the US and Europe. Certainly in the case of Carmike, we continue to believe that the proposed merger between AMC and the company is a compelling opportunity that offers significant value to both companies’ shareholders. And through AMC’s announced acquisition of Odeon & UCI Cinemas in Europe, AMC will now be extending the reach of our proven guest experience strategies to transform the movie-going experience for millions of moviegoers in Europe. Odeon & UCI is a great business with iconic brands, strong market presence and passionate teams, and their impressive recent transformation is just the beginning. By introducing AMC’s operational expertise, scale and innovative guest initiatives across Odeon & UCI’s prime theatre locations and digital channels, we expect to drive attendance in these international markets and leverage the growing international demand for movie-going.

AMC Theatres has setsome marketing examples with new ideas like ‘No to Texting’, ‘AMC Stubs’, etc. What is the growth prospect you see in future with these initiatives? Our marketing team has been working overtime to revamp our AMC Stubs loyalty program to include a free tier and to enhance the rewards for our paid tier. And it’s paying off. We’ve just announced that AMC has added more than 1.2 million AMC Stubs members since relaunching in early July, and we continue to add new members every day at a brisk pace. And in the fall, we’ll be updating our website and mobile app to make them even more compelling for today’s movie fans. These are days of sophisticated technology. How is AMC Theatres keeping itself up-to-date? Technology is proving to be a huge benefit to AMC’s business, and I anticipate will continue to be a huge benefit over the next decade. Sight and sound technology advances are leading to a better presentation experience for our guests at premium

large-screen experiences like IMAX, of which AMC offers more locations than anyone else in North America, and Dolby Cinema at AMC, which features Dolby Vision laser projection and Dolby Atmos sound. Technology also has led to a better experience through online ticketing and reserved seating, which is becoming much more prevalent throughout the AMC circuit. Embracing appropriate technological advancement leads to a better experience for our guests, our associates and our shareholders. In addition, advances in technology help us manage our business internally more efficiently and effectively. Tell us about your latest deal on 25 new IMAXs and 100 Dolby Cinema by the end of 2017. We’ve expanded our partnerships with IMAX to grow our status as the largest IMAX exhibitor in North America, as well as our partnership with Dolby to complete our 100 Dolby Cinema at AMC locations by the end of 2017, a full seven years ahead of schedule. Box office returns continue to demonstrate that our guests enjoy the premium experience our IMAX theatres offer, and we are tremendously excited about bringing this experience to even more guests and new markets over the next couple of years. Dolby Cinema at AMC is another very exciting premium large format


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experience and one that guests have responded to extremely well. Through the Dolby Vision laser projection and Dolby Atmos sound technology, combined with the ultimate comfort and experience of the AMC power, reserved recliners with seat transducers, guests feel closer than ever to the action on screen. What are your strategies to modify the theatrical distribution window? The theatrical window is a longstanding industry practice that has benefited studios, theatres and moviegoers. AMC is a strong believer in the benefits of the theatrical window to all. We all should tread lightly and be mindful that over the years, the film industry’s success is a direct result of a highly successful collaboration between film makers, distributors and exhibitors. Change should be taken only wisely. Even so, carefully considered reform is always worth evaluating in any number of areas. Accordingly, AMC is willing to work our studio partners to intelligently do what we can to help improve studio profitability and ensure that filmmakers continue to have the freedom to captivate moviegoers, all the while ensuring that the enormous investment by theatre operators can continue to be prudently made and rewarded. This approach benefits studios, exhibitors and most importantly movie fans who delight in watching film as it was meant to be seen — on the big screen. Our aim is clear: Theatres across the continent continue to be superb guest-pleasing vehicles that

incomparably showcase moviemaking magic. Tell us about your presence in China and future plans for this region. Our primary shareholder, The Wanda Group, is located in China. Wanda

has been a superb shareholder, and we communicate often and well with Wanda about the direction of our company. However, Wanda does not involve itself in the day-to-day running of AMC, nor does AMC involve itself in the day-to-day operations of Wanda Cinema Line.

September-November 2016



Jim Patterson

The Pride of Multiplex Industry

The man who was cheerful, loyal and made a positive difference to the lives and well-being of many people along his journey with Major Cineplex… His poised smile on the cover page of our magazine TheatreWorld (January - February 2015) fills me with a sense of elation every time I browse through my bookshelf. As I pen down with a heavy heart that Jim Patterson, Director of Business Development, Major Cineplex has passed away, memories of my rendezvous with the man described as "one of the most colorful characters in Thailand's cinema industry" are still fresh. Jim died peacefully at Bangkok Hospital on August 13, 2016 after a year-long battle with cancer. Born in Canada, Patterson left behind his wife and two daughters. In the words of Vicha Poolvaraluk, Chief Executive Officer, Major Cineplex, "Jim worked cheerfully, loyally and whole-heartedly with our team here at Major for close to 20 years. Over that time our business grew tremendously, as did the relationships Jim helped to foster in support of our efforts, including our relationships with many of you, our


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key partners in this business. He made a positive difference to the lives and well-being of many people along this journey. His presence and contributions will be greatly missed." "Jim helped mentor many of our capable staff here and indeed insisted on continuing to meet with and work with several of our team members, despite his illness, to prepare them for the future right up until the end. He was comfortable, as am I, that his work will continue to be carried by capable hands going forward," added Mr Poolvaraluk. As director of business development, he is credited with enormously expanding the multiplex venues across Thailand, Cambodia and

Malaysia. Jim always believed concessions stands to be an integral part of the moviegoing experience. In an interview to TheatreWorld (January - February 2015 issue), he said: "Our concession capture rate at 30 per cent is the biggest in the region. We do very well at concessions and even better at sponsorships and ads. This creates good operating margins that enables us to keep the ticket prices reasonable with our very high standards. We always thank our sponsors and partners in helping us keep our ticket prices affordable." The pride he held in his heart for brand Major Cineplex is so well spelt out in these words: "I'm a Canadian, who has travelled all over the world and worked with numerous different cinema chains. I don't know of anybody else doing what we are doing. We are so focussed on building the best." Jim, your memory lives on in our hearts…

RAGHAVENDRA T Editor/Publisher - TheatreWorld


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 How to Create Better Cinema Standards and Revisiting X-Curve‌

How to Create Better Cinema Standards Historically, cinema standards were created after the fact. In fact, they weren't called standards. The earliest collaborative cinema document from SMPTE is an Engineering Guideline dating back to the late 70's. In the 80's, SMPTE moved on to publish Recommended Practices, and only began to jointly publish standards with ANSI in the late 80's. These documents recorded actual practice. As cinema moved into the digital domain, two new concepts emerged in the standards process: collaborative invention in committee, and RAND licensing. Both need review.

reasonable and non-discriminatory (RAND) licensing terms work: technology providers in home entertainment look forward to selling 10's of millions of units, and RAND terms encourage collaboration. Cinema, on the other hand, is not home entertainment. Technology providers in cinema at best sell 10's of thousands of units. RAND licensing terms simply don't exist in cinema, because the business volume isn't there to support it. RAND terms do not work in cinema. But the attempt to apply it continues, anyway.

The concept of inventing cinema standards in committee arose in 2000, when the digital cinema standards effort began. Invention was required out of necessity: no suitable technology existed. Those who would invest in the technology needed others to determine what the technology was. Studio technology executives, fresh from the standards room for Blu Ray, slowly learned that their newly gained expertise wouldn't transfer to this industry. To avoid proprietary technologies, a process of "collaborative invention" was needed. That process worked at that time. But the conditions that led to that process no longer exist. Something else is needed.

The low business volume in cinema has often led to the embrace of monopolistic technologies. Dolby noise reduction for analog film sound perhaps the most famous. The intent to avoid monopolist technology drives the attraction to collaborative effort. It's good that the momentum and spirit of collaborative effort from pre-rollout digital cinema continues even today. The shame is that this valuable spirit will soon dwindle if the degree of unproductive output continues. The facts are striking. Of 34 digital cinema standards now in publication, only 14 have found their way into wide use. Stated differently, nearly 60% of the effort in SMPTE brings no benefit to industry.

Then there's the issue of licensing. The home entertainment industry has benefited immensely from collaborative efforts where technologies are pooled and joint licensing takes place. The concept of

SMPTE is a rule-based organization, and according to its rules, any member can initiate a standards project, subject to approval by peers, who must also approve the project

within the parameters of SMPTE rules. But the threshold for project approval is too low: the low rate of utilization is strong evidence that a higher threshold is needed. What's missing in the project approval process is an analysis of business issues. A major reason for standards failure is the absence of an economic incentive to adopt. Incentives include improving the competitive nature of the market, delivering an economic benefit to all parties for whom the standard incurs a cost, and more direct incentives such as a subsidy to reward adoption. These may appear as common sense, but rarely are they met. More typically, a standards project is initiated by those for whom the standard would incur a savings. Those who would incur the costs simply ignore it. Text-based 3D subtitling comes to mind, where the standard, if widely adopted by exhibitors at their expense, would reduce costs carried by content producers. Because the benefits are unbalanced, there is no incentive to adopt it. Then there's SMPTE DCP, which is simply a cost to anyone who touches it. Currently, SMPTE rules allow any standards project to be formed based on having a single proponent. This threshold is too low. It doesn't allow a committee to differentiate between projects that will naturally be driven by economic benefit, from projects that are economically unbalanced and unlikely to have an impact on

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• TECHNOLOGY • the market. A business analysis should be required of all projects, and committee members allowed the right to vote against a project based on lack of evidence for market adoption. Intellectual property in a standards project can also lead to problems. SMPTE, as with any standards body, has strong rules regarding intellectual property in standards. Owners of standards essential patent claims must state that they will license under reasonable and nondiscriminatory (RAND) terms. In addition, standards developers are free to choose technologies that do not require licensing. But in cinema hasn't a history of "fair and reasonable" licensing, simply because there isn't a history of licensing whatsoever. Innovation within cinema's small market volume can be difficult to obtain without a monopoly. The DCP is a rare exception, an example of innovation

without claims to intellectual property. But Dolby Atmos (sorry, Ray, for picking on you twice) is an example of innovation backed by intellectual property. One can argue that cinema best benefits from non-proprietary or at least non-royalty-based technologies. JPEG 2000 is an example. AES encryption another. There was conscious effort in the early development of digital cinema to avoid technologies that would incur royalties. But the mechanism to discriminate based on royalties is limited in SMPTE to a proclamation of agreement with RAND licensing terms. This isn't enough. Cinema technology providers need to know more than an assurance of RAND: they need to know exactly what it costs. This requires sharing of license terms, most likely under a non-disclosure agreement, directly with interested parties. This step is not required by SMPTE. Or better yet,

an allowance in committee rules to differentiate based on royalty-free licensing, and any constraints to royalty-free terms. One might think that participants would simply drop out, and the committee fold, if they didn't see an economic benefit in a standards project. But such situations tend to play out in non-intuitive ways, where participation becomes a defensive move to make sure no harm is done. It's possible, and is happening now in one particular standards effort, that none of the major technology providers in a committee intend to implement the technology. But no one in the committee will "blink," because no one wants to be identified as the party spoiler. Such efforts are a waste of time, and the result of inadequate SMPTE rules. The cinema standards process require rules tailored to the cinema market. That should be the new rule.

Revisiting X-Curve X-Curve is the name given to the frequency response curve applied in all cinemas today. In an era where relatively cheap real time analyzers (RTAs) arrived in the hands of notalways-well-trained technicians, X-Curve was applauded. Aligning a cinema to X-Curve on an RTA produced far better results than when an inexperienced technician attempted to align to a flat line. (If you ever have the ability to try this, you will quickly understand what I mean.) But as time passed, X-Curve became a target curve, whether needed or not. It once was the case that cinema sound mixes were presumed to be flat, without spectral coloration. But today, the evidence is mounting that this is no longer the case, separating cinema sound, which is now considered colored by a growing cadre of experts, from the body of other media sound, which no one would object to saying is intended to be uncolored, or flat. Several studies were published over the past year and a half on cinema sound and X-Curve, providing an opportunity to review this subject yet again.


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Cinema sound has a history of frequency response curves. Ioan Allen, who drove Dolby's entry into cinema in the 70's, authored an informative article titled "The XCurve: Its Origins and History" which, among many things, describes the history of cinema response curves. One of the challenges for Dolby in its early days of cinema development was the extreme rolloff in frequency response applied to cinema sound systems. The sharpness of the curve is a hint as to the quality of sound systems in those days. ISO was seeking to standardize a response curve for cinema, and in the end, it standardized two. N-Curve, for normal, and X-Curve, for experimental. X-Curve was the improved curve proposed by Dolby. It had a high frequency rolloff of 3db/octave starting at 2KHz, a significant improvement over N-Curve. At the time, and for many years after, it was assumed that the rolloff in room response captured in X-Curve was caused by room reverberation.

Sound is thought of in terms of "steady state" response and "direct" response, or "first-arrival." First arrival refers to the sound the ear first hears, as opposed to the steady state sound heard over time, which includes room reverberation and reflections. First arrival is most important, as our brains identifies the direction of the sound on the basis of first arrival, regardless of room reverberation from walls and ceiling. The measurement of first arrival sounds, without interference of reverberant sounds, was not easily possible at the time of Dolby's entry into cinema. The readily-available technology of the day was the Real Time Analyzer, which measures steady state response. X-Curve, up until recently, had always been associated with the steady state response of a room. Accordingly, the belief prevailed that the rolloff of XCurve was a product of room reverberation against an otherwise flat signal. However, time has passed, and technology has advanced. Fast

• TECHNOLOGY • Fourier Transform (FFT) measurement tools are now (and for some years) readily available. With an FFT measuring device, a very short "chirp" is played through the loudspeakers, short enough in time such that the measurement time window can exclude any room reverberation and reflections from the measurement. In short, FFT is a good tool for measuring first arrival sound. It works well for frequencies high enough where the first arrival signal can be separated from the room's steady state response, typically a few hundred Hertz. In October 2014, SMPTE published an extensive report titled "TC-25CSS BChain Frequency and Temporal Response Analysis of Theatres and Dubbing Stages." It is perhaps the only published study to compare RTA measurement with FFT measurement of the same auditorium. One of the observations in the report is that the frequency response plots made by RTA and FFT were remarkably similar. If the FFT is measuring first arrival sound, and RTA is measuring steady state sound, and the two measurements look similar, then one can conclude that the effect of room reverberation on the measured RTA response is minimal. Oddly, the SMPTE report overlooked that conclusion, simply stating that the FFT can be used in place of the RTA when calibrating a room to the XCurve frequency response. But the inconsequential impact of room reverberation is quite significant. XCurve was instituted to offset the impact of room reverberation when measuring with an RTA. Ioan Allen discusses this in his X-Curve article, and is consistent with my personal knowledge from my early days in Dolby working with Ioan. However, if rooms are now designed such that room reverberation no longer requires compensation when measuring response, then the question must be asked why X-Curve is still used? This is where the waters divide. The argument for X-Curve is that it is now an accepted target curve, which both mixing room and cinema are aligned to meet. The argument against using

X-Curve is that the mixing room and cinema could be aligned for flat response and get equally good if not better results. It would also put cinema recorded sound on par with recorded sound across the media landscape. Those against change are concerned for backwards compatibility. Those for change have yet to explore what the impact of a change would cause in cinemas around the world. Among the confusing papers on this subject are the myths that have evolved. I was recently told by several people in important positions that X-Curve exists because of the rolloff caused by perforated screens. One went so far to say "our forefathers" did not understand the rolloff caused by screens, resulting in X-Curve. This is one of the most remarkable mis-understandings I've come across. The best example of the knowledge of our "forefathers" is the work of Tom Holman in THX during the early 80's. THX approached the crossover, speakers, and screen as an assembly whose collective frequency response should be flat. It is well-known that perforated screens introduce a significant rolloff at high frequencies. The characteristics of that rolloff vary among screen products. THX chose a general screen compensation, consisting of a 6 db/oct boost beginning at 4KHz. The boost was built into the THX electronic crossover, designed to work with Altec A7 "Voice of the Theater" speakers, while providing compensation for the high frequency rolloff caused by the screen. Crossover, speaker, and screen were treated as a system. And the system was engineered to be as close to flat response as possible. There is a caveat in this, however. In the 80's, headroom at boosted frequencies did not need to be over 6dB, due to the limitation in dynamic range of analog sound tracks. With digital cinema, headroom at all frequencies should be 20dB. That can be a challenge to achieve at boosted frequencies, although with modern multi-way speaker systems, it's not as difficult as it would have been with the 2-way Altec A7.

Plot of the THX crossover frequency response from mid 1980's

Today, we hear from experts who say they don't need to compensate for the screen. Instead, the screen's uncompensated high frequency rolloff is used to meet X-Curve as a target curve. That statement alone shows something has changed from the mid-80's to now. Unfortunately, changing it back does not appear to be a simple task. We have a new generation of sound engineers who think the rolloff of XCurve is the norm for room alignment. This belief is underscored by work underway in SMPTE to use FFT measurement, a tool for measuring first arrival sound, to align rooms to X-Curve, which was originally intended to a measure of steady state sound. The error has not gone unnoticed in the academic world. Some excellent papers have emerged in recent years that discuss the conditions for flat response in cinema auditoriums, notably from Floyd Toole, PhD, a now retired researcher from Harman (parent company of JBL), and Linda Gedemer, currently with Harman, listed below. Also listed below are Ioan Allen's interesting review of the history of X-Curve, and the SMPTE Bchain report discussed in this report. One of the common themes in modern work is that there is little to be done with equalization at high frequencies other than compensate for the screen, and that the bigger problem is bass management. For those with time on their hands, enjoy.

(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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20-23 June 2016 Barcelona, Spain

With high-profile speakers, poolside drinks reception and lots more, CineEurope 2016 was yet another successful year of European convention and trade show for major, regional, and independent cinema exhibitors. Theatre owners and operators, and those allied to the industry came together to seek knowledge on the latest trends and issues; learn about new marketing ideas; network with industry peers; see Hollywood, international, and independent films and product presentations to make informed booking decisions; and to find the latest and best technologies, entertainment, services, comforts, and conveniences to make their theatres must-attend destinations.

CineEurope 2016 Awards UNIC Achievement Award -- Nico Simon, President of Europa Cinemas and co-founder of Utopolis Cinemas Group CineEurope's Independent Film Award -- Nordisk Film A/S


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International Exhibitor of the Year -Christian Langhammer, Founder of Cineplexx International GmbH International Distributor of the Year - Rodolphe Buet, President of Distribution & Marketing at STUDIOCANAL The Variety International Children's Fund Humanitarian Award -- Scott Neeson, Cambodian Children's Fund

Highlights (Seminars, Discussions, Presentations, Trade Show & Awards) Technology Meets Content Introducing Light Field Cinema Presented by the ICTA The Future of Cinema - Executive Round Table Discussion Data Analytics in Cinema - Growth Opportunity or Marketing Mirage? DreamWorks Animation Product Presentation Warner Bros. Pictures International Product Presentation & Screening

Coca-Cola Seminar Universal Pictures International Product Presentation and Screening Twentieth Century Fox International Product Presentation Lionsgate Motion Picture Group Product Presentation Paramount Pictures International Product Presentation CineEurope Focus Sessions on the Trade Show Floor Walt Disney Studios Motion Pictures International Product Presentation Sony Pictures Entertainment Product Presentation All About Seats - VIP, Motion, Occupancy Monitoring Lionsgate Motion Picture Group Screening UniFrance films Product Presentation MisterSmith Entertainment Screening


23-24 August 2016 Chennai, India

If one were to describe the grand opening of Big Cine Expo 2016 in one word, it would be "Houseful!" With the who's who of cinema exhibition coming together on a single interactive platform, Big Cine Expo 2016 at Chennai Trade Centre, Chennai became the first-of-its-kind event to successfully present an International Trade Show & Convention for Multiplexes, SingleScreens and Malls in India. It is Asia's biggest cine expo in terms of the highest footfalls of direct buyers. With 17 years of enriching experience and understanding of cinema exhibition, TheatreWorld magazine unveiled its first expo for the exhibition community - Big Cine Expo! The two-day event was a truly interactive and value-added platform for Theatre Owners, Design Consultants, Equipment Manufacturers, System Integrators, Project Management Professionals, Industry Stakeholders and the user community of single-screens, multiplexes cinema and entertainment malls in Asia and India. September-November 2016


Inaugural Ceremony Subhash Ghai, the well-known film director-producer in Hindi cinema who received the National Award for producing the film Iqbal, was the chief guest of the event and graced the occasion with his presence. Abirami Ramanathan, Managing Director, Abirami Mega Mall; Rajeev Chakrabarti, CMO, INOX Leisure; Udeep B, MD and CEO, Mayajaal Entertainment Ltd; and Richard Mitchell, VP, Harkness Screens were the dignitaries, who performed the lamp-lighting ceremony. "Magic of cinema in a big hall will always be there" - Subhash Ghai, film director-producer In his opening remarks, the directorproducer congratulated Raghavendra T, Director, Big Cine Expo and Editor-Publisher TheatreWorld for the unique initiative and also applauded the team for the mega event. The filmmaker also shared some interesting anecdotes from his expansive film career with the audience. "I'm a storyteller and as a storyteller I can tell you how big screen is very important to me. In 1984-85, cinema was not in a great shape. Piracy was high and VHS cassettes were showing our films. Filmmakers were ruing because it was heavy loss to them. My film Hero, which ran for 75 weeks in Chennai, was not doing well

because of piracy. I had made a film for big screen but people were watching it on small screen. The challenge was how to bring people back to theatre. Later, when I conceived the subject for Karma, my first thought was let me treat the script according to how it would be projected on big screen. People in the hall must feel it is a big screen. I went ahead with six soundtracks. I took 30 days to mix the film. I was

very particular of each sound effect so that people could feel the impact of big cinema. When the film released, anybody who saw the film on small screen did not like it but when they saw the same film in theatre, they loved it. I feel, if we make a film for the big screen, cinema must respect it with adequate facilities. The magic of cinema in a big hall will always be there, irrespective of any latest technology. And I'm here to support this awareness. Let's make bigger stories for bigger canvas and that's were initiatives such as Big Cine Expo help us." -- Subhash Ghai to the exhibition industry. "We will prove that theatres are an integral part of cinema," Abirami Ramanathan, Managing Director, Abirami Mega Mall "TheatreWorld is the only magazine which has recognized the importance of theatres and is dedicated to cinema. It's a unique platform catering to exhibitors and the whole of cinema industry for the first time in India. I'm sure with the


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help of TheatreWorld and Big Cine Expo, we will prove that theatres are the integral part of cinema."--Mr Abirami Ramanathan.

Show Director's Note "Whenever I travel across India and interact with exhibitors, they express a deep-rooted desire for an expo for the cinema exhibition industry in India. Major Indian exhibitors have good technical knowledge and budget, but they cannot afford to travel outside the country for exploring new products. With an exception of 2-3 chains in India, most are dependent on local dealers," says Raghav, editor/publisher of TheatreWorld magazine and organizer of Big Cine Expo. "Despite being the second largest producer of films in the word, India lacks the presence of a significant expo in the cinema eco-system. In the last 3 years, as many as 2000 screens got closed down due to dwindling business and low footfalls. This was mainly owing to lack of business, technology, marketing and operational knowledge among the exhibitors," adds Raghav.



Big Cine Expo 2016 was a huge success and provided an interactive platform for the cinema exhibition industry.

Panel discussion: Cinema Marketing - Tips & Tricks for Revenue Growth

The Expo has established itself as the only event of its kind in India dedicated to all aspects of cinema exhibition.

Master Class on Cinema Sound Design

Panel discussion: 4K/Laser/3D Future-Proof Technology in Projection

Movie promotion: REMO (Written & Directed by Bakkiyaraj Kannan, Starring Sivakarthikeyan and Keerthy Suresh)

Panel discussion: Architectural Splendour of Cinemas

Panel discussion: 5.1 or 7.1 or Immersive Sound - A great debate!

Presentation: Why Maintaining Presentation Quality Matters?

Panel discussion: Provoking Single-Screen to Multi-Screen Adaptation

Panel discussion: Piracy - the Nightmare for Cinema Operators

The Expo is supported by all major exhibitor associations and cinema chains.

The panel discussions presented a golden opportunity to the audience to interact directly with industry experts.

The buzzing trade show was a platform to showcase products/ services and build business networking. Presentations and screenings put forth the latest and upcoming features/releases in the world of cinema.

Kamal Haasan, the celebrated film actor, director-producer, screenwriter, who was also expected to inaugurate the event could not make it as he is recovering from an injury and is recommended rest for three months. He conveyed his best wishes to the team. Christie, a leader in creating and sharing the world's best visual and audio experiences and Harkness Screens, the world's leading screen technology company and thoughtleaders in on-screen brightness, were the associate partners of Big Cine Expo 2016. The multiplex partners of the event included the biggest names in cinema business -- PVR, INOX, Cinepolis, MuktaA2, Mayajaal, Aries Plex and Abirami Mega Mall. The event has made a successful beginning towards bridging the knowledge gap in the industry.

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Tradeshow Floor @ Big Cine Expo




















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9-13 October 2016 Gold Coast, Queensland 2016 Australian International Movie Convention (AIMC) To Once Again Bring The Film Industry To The Gold Coast, Queensland The 2016 Australian International Movie Convention (AIMC) will host around 1,000 delegates from Australia, New Zealand, Asia and the US at Jupiters Gold Coast, Queensland, from 9-13 October. Hosted annually by NACO (National Association of Cinema Operators-Australasia), the AIMC Chairman Terry Jackman AM, says the convention is not only a valuable industry event for those working in film production, distribution, cinema exhibition and allied trades but also a significant event for Queensland's Gold Coast region. "This gathering of key industry personnel is now in its 71st year. Jupiters has been the home of the AIMC for eight years and provides a venue that allows delegates to easily move between the distributor screenings and guest presenter/panel sessions in the Jupiters Theatre, to the Trade Show and lunches in the Pavilion Marquee or the networking functions in the Pavilion Ballroom, Terraces and Lawn areas," says Mr Jackman. Through the major refurbishment of Jupiters Gold Coast over the past few years, AIMC delegates can now enjoy a new level of relaxation and sophistication in


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the newly appointed rooms as well as an exciting range of restaurant options from the Garden Kitchen & Bar, Cucina Vivo and Kiyomi; or enjoy the relaxing and luxurious oasis of the pool area during free time. Michael Hawkins, Executive Director of NACO, says the support of many partner organisations makes the AIMC possible. "Every contribution of funds, equipment and personnel greatly increases our ability to provide a world-class industry event that we are very proud to present," says Mr Hawkins.

Customer Director Cinema & Leisure, The Coca-Cola Company, will offer valuable insights for the Australian market, how to adapt the retail growth strategy and ways to manage consumer expectations and maintain/ increase profitability for exhibitors. •

Wendy Gower, Managing Director, m2m Media Sydney will present a session on demystifying social media for the movie industry.

The educational program will be enhanced by panels of industry experts covering such topics as Finding Female Audiences - Strategies for Marketing and Distribution for Australian Cinema; Facechat and Instibook... what you need to know; Trends in Cinema; and The Retail (R)evolution focused on cinema food and beverage.

Major and independent studio sessions will include an exciting array of trailers and footage from 2017 slates and beyond, and screenings include Lion, Jasper Jones, La La Land and Don't Tell.

Box Office recognition awards for the previous year will be presented throughout the AIMC and several industry luminaries will be recognised through Industry Achievement Awards.

Delegates will have an invaluable opportunity to learn about the latest local and international trends from guest presenters and panel sessions; preview upcoming product from major and independent studios; discuss latest technologies and cinema fitouts with trade exhibitors; and network with colleagues and senior industry executives.


This year, you can look forward to a variety of international guest presenters and panel discussions. Tim League, Founder/CEO Alamo Drafthouse Cinemas USA will share observations and strategies for how to better connect with cinema goers and understand what they want; build student audiences; and find ways to optimise the movie-going experience. Corinne Thibaut, International


17 - 20 October 2016 Miami Beach, Florida

Now in its 30th year, ShowEast continues to bring executives together from across the US with a goal to create the best movie experience possible! One of the movie industry's biggest networking events, ShowEast is a special expo and convention that brings people from the industry together to celebrate cinema. With immense networking opportunities, dedicated social areas, fun-filled events, including the opening night reception, lunch and breakfast on the floor, ShowEast is more than a tradeshow. ShowEast features a range of exclusive product presentations and screenings from both Independent and Major Hollywood studios to help you make important programming decisions for the fourth quarter box office. Powerhouse seminars offer valuable insight from top executives on the latest industry trends and concerns; while the EXPO experience offers delegates a glance at the latest and newest technologies, entertainment, services, comforts, and

conveniences to make their theatres must-attend destinations.

Financial Services

Green/Energy/Environmental• Solutions

Visitor Profile

Hearing Devices

Cinema owners/Operators

Immersive Seating

Cinema managers

Immersive Sound Systems

Cinema marketing executives

Interior Design

Cinema operations executives

In-Theatre Dining

Concessions purchasers

Janitorial• Supplies

Equipment purchasers


Film buyers/Bookers


Film distributors


Film producers & Filmmakers

Lobby Displays

Marketing/Media professionals

Mobile Payment Systems

Major Hollywood Studios

Movie Merchandise


Exhibitor Profile

Real Estate



Alternative Content Programs





Social Networking



Booth/Projection Equipment

Special Services


Ticketing/PO- Solutions



Digital Cinema Equipment

Walls/Acoustic Panels

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16-18 November 2016 São Paulo, Brazil

The key players of the film market will meet at FreiCaneca Convention Center in São PauloSP, Brazil (November 16 - 18), to check out what's hot and happening in the world of technology and to discuss industry trends in the fields of production, distribution and film exhibition. In its third edition, Expocine consolidates itself as one of the biggest business events dedicated to cinema and expects to receive more than 3,000 visitors during the three days of the convention. In an area of 3,200 square meters, Expocine has more than tripled its size when compared to the 1,000

square meters of its inaugural edition in 2014. This year, 70 booths are expected. In addition to products and services exhibitions, the programme also includes lectures on market topics, followed by presentations of national and international distributors. All major Hollywood studios have confirmed their presence to present their line-ups for exhibitors from all over Latin America. "This annual convention has proved to be increasingly necessary as an important meeting point for industry players, fostering essential debates and business for the sector's development in the Latin American

region", says Marcelo Lima, director of Expocine. Among the major players already confirmed, we can find: Barco, Big Poc, Biocopo, Bravoluz, Centauro, Christie, Cine Brasil, Cinecolor, Consciência, Dolby, Equiposhop, Flavored Popcorn, Gabo, Rosset, Hotsound, Ideal, Imply,, Inorca, Kelonik, Lumma, MasterImage, Maxillusion, NEC, Osram, PipocasCianorte, PrimePass, Projetelas, Quanta DGT, Santa Clara, Severtson, Soluplex, Spcine, Strong MDI, Tonks, UNID and Wintex. Rising Market Potential in Latin America Cinema box offices in Brazil grew 20.1% in 2015, when compared to the previous year. According to the Brazilian National Film Agency (Ancine), 172.9 million viewers attended film theaters in Brazil last year, which means an increase of 11.1% compared to 2014. Among the ten highest-grossing films registered in Brazil since 2004, no less than eight were achieved between 2015 and 2016 (Avengers: Age of Ultron in 1st place; Captain America: Civil War in 2nd; Furious 7 in 3rd; Batman v Superman: Dawn of Justice in 4th;


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16-18 NOVEMBER Minions in 6th; The Ten Commandments - The Movie, in 7th, Finding Dory in 8th and Star Wars: The Force Awakens in 9th). "This growth has not been higher only because the shopping mall sector, which is directly linked to cinema, has cooled with the drop in the Brazilian purchasing power with the political and economic crisis that has dragged on since 2014, preventing the opening of more cinema complexes", considers Marcelo Lima.

If blockbusters are naturally successful, local productions don't fall short. According to the European Audiovisual Observatory, the local audience for the 182 Argentinian films reached 14.5% in 2015. The number is not much higher than the 13% achieved by national cinema in Brazil in the period, but shows significant differences if we take into consideration territorial extent and amount of theaters in both countries.

This good performance has directly influenced the expansion of the sector in Latin America. While worldwide box office recorded a 5% growth in 2015 compared to 2014, in Latin America this figure reached 13%, according to MPAA (Motion Picture Association of America).

This growth is not meteoric; instead, it has been built over the past years out of the efforts of Latin America to consolidate itself as an important local and export film market.

Mexico was the champion in terms of income ($900 million), followed by Argentina, which has showed the biggest increase in the region with a growth of 38% ($300 million) in the same period - an amount driven by hits such as Minions, Furious 7, Inside out, El Clan and Jurassic World.

"Brazil is one of the biggest influencers in Latin America in many sectors, and cinema is no different. This significant expansion of cinema in the region is also the result of Brazil's good performance, by investing in successful productions and new theaters with high-technology sound and image", says Marcelo Lima, director of Expocine.










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@ BigCineExpo Building the Social Media Platform "Cinema Marketing - Tips & Tricks for Revenue Growth", the opening discussion of Big Cine Expo 2016 at Chennai Trade Centre, Chennai was one of the major highlights of the event. Panellists from the largest multiplex chains in India gave their insight into the new-age cinema marketing. Big Cine Expo is the first-of-its-kind event to successfully present an International Trade Show & Convention for Multiplexes, Single-Screens and Malls in India.

Overview: Internet and social media are proving to be the new-age marketing tools for cinema marketing. The studios are adopting the right marketing strategies and capitalising on social media networks and online communities, apart from the tried and tested conventional media (television and print), to spread the word. But the moviegoer is also extremely savvy and can see through the massive hype surrounding a big movie release and the better offering at the cinemas. The industry gurus debate over the best marketing tips and tricks for enhancing the revenues.

Panelists: Sohan Roy - Chairman, Aries Plex Udeep B - Chief Executive Officer, Mayajaal Entertainment Rahul Puri - Managing Director, Mukta A2 Cinemas


September-November 2016

Kamal Gianchandani - President, PVR Cinemas Rajeev Chakrabarti - CMO, Inox Leisure Moderator: Natraj G, Cinema Consultant Discussion: Cinema industry is a content driven industry and yet it's the theatrical publicity that plays a crucial role in increasing occupancy. Consumer engagement through social media emerged as a unanimous answer in understanding cinema marketing dynamics. While Rahul Puri - Managing Director, Mukta A2 Cinemas enlisted the key differentiating aspects at the retail end which included the quality of projection, air-conditioning, seating, loyalty programmes, F&B and the overall engagement built with the movie-goer, Rajeev Chakrabarti -

CMO, Inox Leisure elaborated on the cinema chain's experience of engaging through social media with movie-based and absolutely nonmovie based marketing. Kamal Gianchandani - President, PVR Cinemas specifically pointed out the challenge in marketing mid-size films vis-à-vis bigger films such as Dangal, Sultan, Baahubali and Kabali, which easily garner footfalls. The bigger actors "create content" and use social platform quite well. The greater challenge is with mid-size films, which despite being good in quality, perish very soon. He also pointed the need to experiment with alternate platforms to release films, which included crowd sourcing. Udeep B - Chief Executive Officer, Mayajaal Entertainment shared his experience as a single 16-screen multiplex. For a multiplex of that

• BUSINESS TRENDS • size, feeding content itself is a challenge, he pointed out. Playing diverse languages to increase footfalls and creating a bigger base of customers was his solution. He explained how the online engagement mode has helped him in reducing the marketing spend.

Sohan Roy - Chairman, Aries Plex narrated his personal experience of his transformation from a filmmaker to a cinema exhibitor to showcase his film the way he desired. "Loyal customers and their Facebook page" is his sole marketing mantra.

Takeaway: We are living in an age and time when the movie-goers catch the first glimpse of movie trailer on social media. Hence building this platform and engaging them through social media is the crux of the matter.

Behind the Designs of Cinema "Architectural Splendour of Cinemas", an insightful discussion at Big Cine Expo 2016 at Chennai Trade Centre, Chennai was one of the most interactive sessions of the event. Distinguished architects from across India gave their perspective into what goes behind the architectural splendour of cinemas. Big Cine Expo is the first-of-its-kind event to successfully present an International Trade Show & Convention for Multiplexes, Single-Screens and Malls in India.

Overview: Designing the architecture for cinema premises will be an extremely challenging task and a radically different experience in the future. The architects, acousticians and interior designers need to come up with rejuvenating ideas to produce bold, brilliant and smart concepts for cinema architecture. Will it bring the splendour back to the buildings and will the architects rise up to the challenge? Let's find out from the expert panelists.

Panelists: Ar. Shubhashish Modi - Arris Architects

Ar. Prakash Gore - PGAG Architects Ar. Eranna Yekbote - Era Architects Moderator: Sandeep Mittal - Director, Anutone Acoustics Discussion: Sandeep Mittal, Director, Anutone Acoustics and Founder of TheatreWorld magazine, who has rich experience of cinema and its acoustical needs, brought a unique insight into the panel discussion owing to his indepth understanding and years of interaction with cinema architects. Being a seasoned player in the industry, he played a proactive role in the discussion.

Non-auditorium area (Lobby, box-office, concessions & restroom) With his 17 years of experience in designing 1200+ screens in more than 25 countries, Eranna Yekbote Era Architects, explained the need to give greater space with high ceilings, interesting lighting and other elements and a "wow" factor to invite people in to the lobby area. He also added that colours and signages bring people into the flow of the scheme of things around. Prakash Gore - PGAG Architects, also elaborated on how his designs are geared towards making the cinemagoer feel special in the lobby

September-November 2016


• BUSINESS TRENDS • space, so that he/she is cut off from all the other "happenings in life". Prakash Gore and Amita Gore are the Principal architects and partners of PGAG Architects, a firm that specializes in multiplex cinema design, restoration, renovation and refurbishment. They also specialize in luxury cinema design. Shubhashish Modi - Arris Architects, who has more than a decade of experience in various facets of architecture, interiors and planning, lucidly explained how lobby is the first interaction point and the transition between the outside world and the cinema. Lobby design has been a major focus of his work. Sandeep Mittal emphasized the importance of acoustics in lobby area and not just in the auditoriums, while the panelist architects pointed out the challenges in designing the

area. One of the suggestions that came about was to have the box office at the entrance to attract more footfalls. The panelists unanimously agreed that the restroom is a tricky as well as the most interesting area of planning and designing. They also pointed out the limitations. Many a time, the architect's role comes towards the end in capacity as interior designer and not in initial planning, which restricts their creative freedom.

Auditorium Being the director of a company serving cinema exhibition industry with its acoustical ceiling and paneling services, Sandeep Mittal reiterated the need for the right acoustics to absorb the innovations in sound technology (7.1, 9.1, 11.1 sound processors and Immersive

Sound). While the architects elaborated on the visual design of their repertoire of work, they also explained the challenges in sound isolation.

Other Services The role of architects in insisting fire rated material to ensure fire safety was another crucial point of discussion. Coming to the question of sustainability in cinema, the moderator and panelists agreed that the "green" quotient of cinema exhibition industry was still in its infancy stage. Takeaway: The cinema exhibition industry will do good in involving the architects and their services in the earlier stages of cinema planning so there are no compromises in quality.

Fighting Piracy at Multiple Levels "Piracy - the Nightmare for Cinema Operators", a vibrant discussion at Big Cine Expo 2016 at Chennai Trade Centre, Chennai is one of the most burning topics in the cinema industry. Distinguished industry experts from across India gave their perspective of this universal issue. Big Cine Expo is the first-of-its-kind event to successfully present an International Trade Show & Convention for Multiplexes, Single-Screens and Malls in India. Overview: Movie piracy is affecting the cinema exhibition industry globally and in India. The estimated revenue loss to the box office globally is to the tune of US$5 billion approximately. Can the cinema operators win the war against piracy? Let's hear it from the horses' mouth.

Panelists: Manish Vaishampayan - Content Protection Manager, MPAA India Amit Sharma - Director, Miraj Entertainment Abirami Ramanathan - Managing Director, Abirami Mega Mall Rajesh Patkar - Deputy General Manager, Christie Digital India


September-November 2016

Moderator: Sreedhar Pillai - Film Journalist Discussion: As Sreedhar Pillai Film Journalist, opened the discussion by putting forth the alarming reality of piracy and its consequences, it was only but obvious that the topic was bound to garner interest and more than that serve as a platform to express a common grievance affecting the entire film fraternity. Manish Vaishampayan - Content Protection Manager, MPAA India, pointed out how film piracy not only impacts the cinema industry but also affects the individuals downloading the movies, who are unaware that their sensitive data is being compromised by accessing the virusridden sites.

Abirami Ramanathan - Managing Director, Abirami Mega Mall expressed his concerns over the extent to which piracy has penetrated into the system. So much so that at some level the involvement of cinema halls cannot be ruled out. After all, it seems unrealistic that the pirates can record the movies without the knowledge of cinema owners, given the technical quality of the pirated version. Amit Sharma - Director, Miraj Entertainment, urged everyone to rise above the blame game and "passing the buck" that exhibitors and producers indulge in. He reiterated that instead of fighting against each other "we need to fight against piracy". He also pointed out the absolute lack of political will, which is responsible for letting piracy


proliferate for so long. Amit, along with other panelists, also pointed out the lack of awareness about piracy. Not many in today's generation are aware in the first place that "piracy is a theft and crime". While a "No Smoking" ad runs on the screen as a public service message before the film, there's no such thing when it comes to piracy. Rajesh Patkar - Deputy General Manager, Christie Digital India

pondered on alternative ways to counter piracy with a concerted effort by the film fraternity, which includes downloading rights. He also pointed out how use of technology such as camera detection device can help in tackling piracy. Takeaway: The topic evoked active audience participation with constructive suggestions coming from them. Telangana Intellectual Property Crime Unit (TIPCU), an

initiative authorized by Telangana government emerged as an example of a genuine effort towards curbing piracy. Forming a separate federation of exhibitors to put forth the concerns before the government came up as another solution. Screening public service message to create awareness regarding antipiracy among younger generation was another proposal.

September-November 2016




A glimpse of movies coming soon… The Birth of a Nation


Production Fox Searchlight

Production STX Entertainment

Director Nate Parker

Director Jonás Cuarón

Starring Nate Parker, Armie Hammer

Starring Gael García Bernal, Jeffrey Dean Morgan

Genre Drama, Biography

Genre Thriller

The Girl on the Train

The Accountant

Production Universal Pictures

Production Warner Bros.

Director Tate Taylor

Director Gavin O’Connor

Starring Emily Blunt, Rebecca Ferguson

Starring Ben Affleck, Anna Kendrick

Genre Drama, Thriller

Genre Drama, Thriller

Middle School: The Worst Years of My Life

Kevin Hart: What Now?

Production CBS Films

Production Universal

Director Steve Carr

Director Leslie Small

Starring Griffin Gluck, Lauren Graham

Starring Kevin Hart

Genre Comedy

Genre Comedy

September-November 2016


F U T U R E Jack Reacher: Never Go Back

Production Columbia

Director Edward Zwick

Director Ron Howard

Starring Tom Cruise, Cobie Smulders

Starring Tom Hanks, Felicity Jones

Genre Action

Genre Drama, Thriller

Hacksaw Ridge

Production Universal

Production Summit Entert.

Director Mike Flanagan

Director Mel Gibson

Starring Elizabeth Reaser, Annalise Basso

Starring Andrew Garfield, Sam Worthington

Genre Thriller, Horror

Genre Drama, Action

Boo! A Madea Halloween


Production Lionsgate

Production Focus Features

Director Tyler Perry

Director Jeff Nichols

Starring Tyler Perry, Bella Thorne

Starring Joel Edgerton, Ruth Negga

Genre Comedy, Horror

Genre Drama


September-November 2016


Production Paramount

Ouija: Origin of Evil



Almost Christmas Production Paramount

Production Universal

Director F. Javier GutiĂŠrrez

Director David E. Talbert

Starring Matilda Lutz, Alex Roe

Starring Kimberly Elise, Omar Epps

Genre Thriller, Horror

Genre Comedy

F U T U R E Arrival

R E L E A S E S The Edge of Seventeen

Production Paramount

Production STX Entertainment

Director Denis Villeneuve

Director Kelly Fremon Craig

Starring Amy Adams, Jeremy Renner

Starring Hailee Steinfeld, Woody Harrelson

Genre Sci-Fi

Genre Drama, Comedy

Shut In

Bad Santa 2 Production EuropaCorp

Production Broad Green

Director Farren Blackburn

Director Mark Waters

Starring Naomi Watts, Oliver Platt

Starring Billy Bob Thornton, Kathy Bates

Genre Thriller, Suspense

Genre Comedy

Fantastic Beasts and Where to Find Them

Rules Don’t Apply

Production Warner Bros.

Production 20th Century Fox

Director David Yates

Director Warren Beatty

Starring Eddie Redmayne, Katherine Waterston

Starring Warren Beatty, Lily Collins

Genre Action, Fantasy

Genre Drama, Biography

Nocturnal Animals


Production Focus Features

Production Walt Disney

Director Tom Ford

Director John Musker

Starring Amy Adams, Jake Gyllenhaal

Starring Dwayne Johnson, Auli’i Cravalho

Genre Thriller

Genre Comedy, Animation

September-November 2016


F U T U R E The Bye Bye Man

Production Dharma Prod.

Director Stacy Title

Director Karan Johar

Starring Carrie-Anne Moss, Faye Dunaway

Starring Ranbir Kapoor, Anushka Sharma

Genre Thriller, Horror

Genre Drama


Production Walt Disney

Production Eros International

Director Gareth Edwards

Director Ajay Devgn

Starring Felicity Jones, Diego Luna

Starring Ajay Devgn, Ali Kazmi

Genre Action, Animation

Genre Drama

Force 2

31st October Production Magical Dreams Prod.

Production Viacom18 Motion

Director Shivaji Lotan Patil

Director Abhinay Deo

Starring Vir Das, Soha Ali Khan

Starring John Abraham, Tahir Raj Bhasin

Genre Drama, Action

Genre Thriller

Tutak Tutak Tutiya

September-November 2016

Ae Dil Hai Mushki

Production STX Entertainment

Rogue One: A Star Wars Story



Dear Zindagi

Production Shakti Sagar Prod.

Production Dharma Prod.

Director A. L.Vijay

Director Gauri Shinde

Starring Sonu Sood, Tamannaah Bhatia

Starring Alia Bhatt, Shah Rukh Khan

Genre Horror, Comedy

Genre Drama

TheatreWorld ::: September-November 2016  
TheatreWorld ::: September-November 2016  

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