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Technology, riding on the ongoing digitization movement, is opening up new opportunities in the Cinema Exhibition Industry. Today, major manufacturers are offering a complete cinema building solution to exhibitors. Dolby Cinema is a case for instance – Dolby and Kinopolis announced the opening of the first Dolby Cinema in Germany at the renowned in Munich. The madness for an ‘All Laser Multiplex’ is going global like never before. Alania Cinema in Russia, has opened a brand-new six-screen theatre; opting Barco’s Smart Laser technology, offered by Cinionic - to create the best-possible viewing experience serving as the second all laser multiplex in Russia and the first in the North Caucasus region. IMAX and Lochmann announced an agreement for a new IMAX theatre located in Germany featuring IMAX’s groundbreaking laser experience with an estimated 38-meter screen marking the largest IMAX screen in the world. THX is all set to deliver a superior Premium Large Format moviegoing experience with a new visual standard to its consumers, all the more known for its 4K resolution display with the CGS remastered content exclusively shown at the property in San Francisco, California. WEIN Cinema contracted with ACE Film to outfit all 34 theatres occupying a 20,000 square-meter area with profound audio solutions to match the unparalleled quality thus serving as the largest cinema complex in Asia. The world is on a constant run to have the best-of-the-best tech-amenities for its patrons. Nevertheless, the State Theatre in Washington Iowa, USA, titled as the oldest continuously operating cinema theatre in the world has consistently served as a sanctum of cinematic excellence ever since it’s screening over 122 years ago. More than a decade and 21 films in the making, all roads in the Marvel Cinematic Universe have led to “Avengers: Endgame”; that has more than just lived up to its hype and high-roller billing, with the blockbuster movie smashing records in quick time and scaling milestones with apparent ease. Ardent fans across the globe will concur “Avengers: Endgame” as the perfect finale to the current phase of the MCU franchise, with a gripping storyline and solid performances from the entire cast carrying the movie into unchartered success. Big Cine Expo (BCE)!!! The world’s second largest international tradeshow and convention is all set to roll out its 4th edition!!! And now in its all new location at the Bombay Exhibition Center in Mumbai, India held on 27-28 August 2019. This extremely unique and exclusive event promises to be yet another interactive platform that will add value to the single-screen cinemas, multiplex cinemas, B2B stakeholders of cinema and entertainment once again. BCE is the only cinema exhibition convention and trade show specifically for the burgeoning cinema exhibition market in Asia and India providing a platform for discovery, collaboration and networking for cinema exhibition industry in India. The 2-day event comprises of various product displays, product demos, product presentations, studio presentations, seminars, panel discussions, awards program, special events, film screenings, networking, B-2-B meetings, a trade show, and much more in store! So do join in to be a part of the two day grand convention and trade show to experience and gain the latest updates spiralling in the cinema exhibition market. TheatreWorld is once again the media partner at CineEurope in Barcelona, Spain (17-20 June). See you all soon! Do not forget to pick your copy of TheatreWorld magazine at the show!!! Raghavendra T Editor-Publisher DISCLAIMER - TheatreWorld Magazine does not warrant or assume any legal liability or responsibility for the quality, accuracy, completeness, legality, reliability or usefulness of any information, product or service represented within our magazine or web site. The information provided is for knowledge or entertainment purposes only. TheatreWorld Magazine does not endorse or recommend any article, product, service or information found within said articles or advertisements. The views and opinions of the authors who have submitted articles to TheatreWorld Magazine belong to them alone and do not necessarily reflect the views of TheatreWorld Magazine or its staff.


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Issue # 86 June-August 2019

Raghavendra T Editor-Publisher +91 9980 208 208

Asha Ranjith Business Development +91 9902 208 208

Himanshu Peshwani Business Development +91 9148 208 208

Shireen Mariam Deputy Editor +91 9740 602 545

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Varsha P Subscription & Circulation +91 9108 208 208

Jagadeesh M Online & Social Media Contributing Author Tony Adamson Eranna Yekbote Jawahar B Lalla Printing Ramya Reprographic, Bengaluru Published by Raghavendra T on behalf of NETWORK208 11/1, 7th Main, Indiranagar 2nd Stage, Bangalore 560 038, India Tel: +91 80 2529 0208 Email:

Sandeep Mittal Founder Editor-Publisher 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-64 for TW, and India pages TM-1 to TM-42 for TM. TM is inserted between pages TW-58 and TW-59 of TW.



State Theatre at Washington, Iowa

World's Oldest Operating Cinema TW-36

REV Cinema:

Haiti's Streak of Joyous Hope TW-40

WEIN Cinema:

Asia's Largest Cinema Complex TW-42 World's First THX Ultimate Cinema


Avengers: Endgame

Ending On A High Note TW-46

Architectural Notes:

Introduction to an Affirmed Continuance


TW-44 GDC Launches Record Number of Industry First Products

TRADESHOWS TW-48 Preview TW-50 Preview -



Galaxy Theatres, Las Vegas:

TW-51 Review -

Exceptional Experience to Endure TW-54 Review TW-59






Miraj MAXIMUM Metropolis:

On Hitting a Century!!! TM-14


Enforcing Transmutational Experiences! TM-19

Swagath Shankarnag Cinema:

World's Largest LED Screen in Bangalore TM-26

PVR Cinemas: SSR Cinemas:

All Set to Explore North East TM-30

Rockstar NOVA Cinemaz:

First Multiplex in Virar TM-32

Suchitra & Prabhat:

Mangalore's Claim to Fame TM-36


Making Way for Spectacular Opulences TM-40 Cinema Ticketing Kiosks in Single-screen & Multiplexes


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Spearheading Through Time TM-28


Raja Talkies:

A Must Go Place in Kallakurichi

Cinemark Opens 12-Screen Theatre in Greater Portland, Maine Cinemark Holdings, Inc. a leader in the motion picture exhibition industry, and Waterstone Properties Group have announced building a state-of-the-art, 12-screen theatre in the mixed-use development Rock Row. As part of the lifestyle centre located at the southeast corner of I-95 and Main Street in Westbrook, Maine, in the greater Portland area, the new Cinemark location is scheduled to open in spring 2021. All 12 auditoriums will have reserved seating featuring Cinemark's Luxury Loungers, which are electricpowered, plush, oversized recliners with footrests, cup holders and heatcontrolled seats. The multiplex will also feature an XD auditorium with an immersive wall-to-wall screen and an enhanced sound system. "We are excited to be a part of Rock Row, a very unique and dynamic real estate project, and to open our first Maine theatre location," said Mark Zoradi, Cinemark CEO. "Our brand new Cinemark theatre will be the entertainment anchor to this impressive mixed-use lifestyle centre, providing an extraordinary entertainment experience for Westbrook and Portland as well as a regional draw for southern Maine and northern New Hampshire." In addition to the Cinemark theatre, this 100-acre mixed-use destination will include over 1 million-square feet of commercial, residential and hospitality space. Highlights of Rock Row include a world-class beer and food hall, a Market Basket grocery store, a medical and wellness campus, 750 apartments and an 8,200-capacity concert venue. Rock Row will also feature walking, biking and running trails interconnected around the former quarry, which will feature interactive light and water displays. "From the beginning, a defining principle for Rock Row has been to


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create an entertainment-driven visitor experience," said Josh Levy, principal at Waterstone Properties Group, developer of Rock Row. "We knew the cornerstone of that experience would be driven by a movie theatre, and we're thrilled to be partnering with Cinemark, a world-class operator that shares our commitment to that vision. The 12-screen theatre will complement Rock Row's offerings to provide an unparalleled experience for everyone who lives at, works at and visits Rock Row."

Adam J. Sussman Joins AMC Board of Directors The Board of Directors of AMC Entertainment Holdings, Inc., the largest theatrical exhibition company in the world, and an industry leader in innovation, announced the appointment of Adam J. Sussman, a globally recognized digital commerce transformation leader, as an independent director of the Company, effective from May 7, 2019. Sussman's appointment expands the size of the Board to nine directors and increases the number of independent directors from four to five. Sussman was appointed as Nike, Inc.'s first-ever Chief Digital Officer, was previously head of Nike's Global Strategy and Corporate Development and currently serves as

the VP/GM Direct Digital and Geographies. He has been responsible for building Nike's portfolio of world-class digital consumer experiences and innovations and transforming retail for the world's leading sports brand. He currently manages Nike's digital teams globally and Nike's direct-toconsumer GM's across the four key operating geographies of the company. Prior to Nike, Sussman was Senior Vice President of Global Publishing at Zynga responsible for marketing, sales, growth and digital products. He also served as Senior Vice President of Publishing at Disney, building the global team that managed gaming properties across all media platforms around the world. At Electronic Arts, he was Vice President of Worldwide Publishing, leading the team that established EA Mobile as the #1 publisher on the Apple App store. Sussman started his career as a creative executive at Hearst Entertainment, a division of the Hearst Corporation. Sussman said, "AMC has been transforming the moviegoing experience through innovation for much of its nearly 100-year history. I am looking forward to working with the team as technology plays a larger role in the value proposition for theatre exhibition." Adam Aron, CEO and President of AMC Entertainment commented, "Drawing on his extensive background in digital product development and customer engagement, Adam will bring fresh insights to our technology, innovation and business priorities as we continue to expand the AMC platform to drive greater value for both our guests and shareholders." Aron added, "Adam Sussman's appointment further broadens the depth, breadth and independence of our board composition, particularly in the area of technology. This addition complements the value that Silver Lake has brought us as a strategic technology investor since September 2018, at the board level

and beyond. We couldn't be more pleased." Sussman holds a BA from Harvard College and an MBA from Harvard University Graduate School of Business Administration.

Majid Al Futtaim Set to Spend $4 billion on Shopping Centres in Saudi Arabia.

"We have a very strong pipeline of shopping centres in Saudi Arabia worth about $4 billion," Alain Bejjani, CEO of Majid Al Futtaim Holding, told Zawya. Vox Cinemas, owned by Majid Al Futtaim, has also pledged $500 million to build 600 screens in Saudi Arabia. Over the next four years, VOX would want to add an average of 150 screens per year in the country through 2023, to reach a total of 600 screens. "We're very bullish about the Saudi market," Bejjani added. "We have launched our VOX Cinemas business in Saudi last year, and we're opening a new cinema almost every month." Elsewhere, Majid Al Futtaim is opening three regional malls in Egypt, the UAE and Oman by 2021. City Centre Almaza in Egypt is set to be the company's next superregional mall, opening in September 2019. On the company's next project in the UAE, Bejjani said: "It'll be City Centre Al Zahia, a shopping mall that will be launched between Dubai and Sharjah in early 2020. "We have launched our first mall in Abu Dhabi last month, and we have other malls in the pipeline that we'll unveil when they're ready." Majid Al Futtaim plans to expand into East Africa in 2019 with its Carrefour supermarket franchise. It will also open more cinemas in Saudi Arabia, and ski slopes globally.


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Golden Screen Cinemas (GSC) Brings Enriching Cinema Experience at IOI Mall, Malaysia Malaysia's leading cinema exhibitor, Golden Screen Cinemas (GSC), recently unveiled its revamped GSC IOI Mall cinema in Puchong, which now features a brand-new kid's hall called PlayPlus, an open lobby, as well as an on-site Starbucks kiosk. PlayPlus, which is GSC's first kid's hall, is a family-friendly auditorium that features a variety of colourful, comfortable, and speciallycustomised seating including spacious Cuddle Couches that can seat a family of four and plush individual Beanbags. There is also an indoor slide and play area in the hall, which younger audiences can enjoy safely, as the theatre is wellilluminated during movie sessions for visibility. Additionally, PlayPlus also comes with an accompanying lounge that packs an assortment of visual aids, tools, and games that enable children to learn while they play." At GSC, we are constantly seeking to create and deliver enriching cinematic experiences that customers of all ages can enjoy at our theatres. This is why we are thrilled to introduce PlayPlus, our latest edutainment offering that is designed to meet the needs of parents and children, as it injects an element of fun and learning in a typical visit to the movies. We hope that with PlayPlus, families will have even more enjoyable and memorable movie moments together," said Koh Mei Lee, Chief Executive Officer of Golden Screen Cinemas. Besides the addition of PlayPlus in GSC IOI Mall, the new cinema refurbishment also introduces a revamped lobby area. Situated at the Old Wing of GSC IOI Mall, this relaxing and inviting open lobby is a public area that provides

customers a space to sit back and take a breather before their movie starts, as well as socialise with their friends and family. Complementing the open lobby is a Starbucks kiosk, which has been opened in collaboration with Starbucks Malaysia. The Starbucks kiosk extends the food and drink offerings, so customers can now enjoy their favourite handcrafted hot or cold Starbucks beverage at the movies. "We are pleased to be partnering with Starbucks to bring the first Starbucks kiosk to GSC IOI Mall at Puchong. The collaboration between both brands enhances the cinematic experience for our customers, so they can watch a film at our cinemas while enjoying their favourite beverage. It is a privilege to work with another consumer-loved brand, and we are looking forward to various ways that Starbucks can add on to our customers' moviegoing experience," added Koh." This partnership with Golden Screen Cinemas is a significant strategic milestone for the growth of Starbucks in Malaysia," said Sydney Quays, Group CEO of Berjaya Food and Managing Director of Starbucks Malaysia & Brunei. "Bringing together our coffee expertise into the country's largest cinema exhibitor helps us amplify the Starbucks brand across the country, while delivering convenience and accessibility for our customers. We are also hopeful that moviegoers in Malaysia will be delighted by the refreshing new options and experiences that we aim to provide."

Nutella Café Opens at VOX Cinemas in Dubai

A new world of Nutella - Italian brand well-known for its sweetened hazelnut cocoa spread - is ready to be explored at VOX Cinemas in Mall of the Emirates. Nutella at VOX Cinemas is now officially open, and moviegoers can enjoy the beloved hazelnut spread as part of an array of sweet and savoury recipes, along with grab-and-go options. Offerings at Nutella at VOX Cinemas include pretzels, waffles, Holland pancakes, funnel fries, crepes and lolly waffles. Moviegoers can opt to indulge in the sumptuous hazelnut spread, while comfortably sitting at one of the many high tables at the Nutella at VOX Cinemas venue or, alternatively, decide to enjoy their order as part of the film-watching experience.

Christie to Power La Fábrica: Muvix's New Multiplex in Chile Christie, a leader in creating and delivering the world's best visual and audio experiences, is pleased to announce that Muvix, Chile's leading cinema chain, has just acquired eight Christie cinema projectors for La Fábrica, its new multiplex in Santiago de Chile, which will also be the first in the country with a Dolby


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Atmos theatre. Muvix and its sister chain Cine Star belong to GrupoSyem, the country's only exhibition company owned by Chilean capital. While Cine Star focuses primarily on small cities with populations of between 40,000 and 70,000 people and multiplexes with a maximum of four screens, Muvix, on the other hand, has the ambition of locating itself in all the country's major commercial centres. This latest move is covered by an agreement signed by GrupoSyem and Christie in 2007 to equip 40 cinema theatres throughout the country with Christie's cinema projectors. "We have put the Christie projectors we already have to the test in what are almost limit conditions and they have come up with flying colours, giving us the excellence in performance and matchless visual quality we were looking for," enthused Sebastián Martínez, CEO and Founder of Muvix. "They are really reliable and, furthermore, what for me is equally important, the personal relationship with the Christie team is excellent, and that means that Muvix and Cine Star will continue to place their trust in Christie as its visual partner." The new multiplex, which will open to the public in June this year and is located in the La Fábrica Patio Outlet shopping centre. It will have eight screens seating a total of 1,596 spectators. It will have one PLF theatre (which it is calling AERA) with a 19-meter screen powered by a Christie CP4230 projector, which furthermore will be the country's first screen with Dolby Atmos sound. The multiplex's other seven screens will be equipped with Christie CP2215 and Christie CP2220 projectors. "The Christie 4K projector in our PLF theatre will give us peerless

definition and will allow us to offer audiences an unparalleled experience," claimed Sebastián Martínez. "At the end of the day, the experience of our moviegoing public is what ensures our bottom line. That's why we have worked so hard alongside a team of expert professionals to offer the market in Chile the best quality and technology available in the world." Diego López, Christie general manager for NOLA and the Andes Region, said: "We are really pleased that Muvix continues to place its trust in Christie for the rollout of its new multiplexes. It has always been at the forefront of technological innovations and improvements, which means that it calls for a standard of quality on a par with what Christie offers. So we are absolutely delighted that it feels totally safe in our hands."

GDC Showcases SR-5400 and SR-6400C Series at Cine Europe GDC has expanded its "SR Series" Standalone IMB product line to include the SR-5400 and SR-6400C, the world's most revolutionary media servers designed for advanced cinematic imagery. The series won the Catalyst Award for Best New Technology of CinemaCon 2019 for its ultra-reliability and innovative FAST (Flexible Architecture Stable Technology) engineering design featuring the world's highest bitrate and frame rate. SR-5400 Series is capable of playing DCP content in 4K 3D and 4K@60fps, compatible with the new DLP Cinema projectors including SR-5400B for Barco, SR-5400C for Christie, SR-5400N for NEC. SR-6400C is capable of groundbreaking playback at 4K 3D and 4K@120fps, and compatible with the new Christie projector featuring RealLaser illumination and CineLife+. SR-6400C can also playback 4K@240 fps in 3D mode with the CINITY Cinema System.

Christie Hires Scott Freidberg: Strengthens Global Cinema Team Christie, a leader in creating and sharing the world's best visual and audio experiences, announced that Scott Freidberg has returned to the organization to evangelize Christie's industry-leading cinema solutions, most notably its family of RGB pure laser projectors featuring RealLaser technology, and Vive Audio solutions. As Vice President, Global Business Development, Cinema Division for Christie, Scott will be based in Cypress, California and report to Dale Miller, Executive Vice President, Cinema Division of Christie. Freidberg's return to Christie with a focus on building and strengthening relationships with key accounts in line with Christie's global leadership as the foremost provider of advanced cinema exhibition technologies and solutions, and is effective immediately. "For more than 20 years, Scott has been directly involved in the development and rollout of digital cinema solutions within the Cinema projection industry, including a successful decade previously at Christie - and as a result, he brings a wealth of exhibitor relationships and industrywide respect to Christie," said Miller. "Specifically, while with Christie from 1997 to 2006, he directed and helped expand penetration of Christie technology in the U.S. and Japan as Director of Sales for these two key markets. As a seasoned sales executive with impeccable, longterm client relationships at multiple hierarchy levels, I look forward to Scott working with our global cinema team and our partners to expand our already considerable footprint for Christie projectors and cinema technologies, and build an appetite for increased market presence among key accounts for existing and new Christie solutions." "Having the opportunity to come back to the great team at Christie, where the very beginnings of digital cinema were incubated, is a great honour," said Freidberg. "I look


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forward to expanding the reach of Christie technologies and solutions globally and exploring new ways for exhibitors to create value for and connect with their audiences for decades to come, with Christie technology and services." Freidberg has both a Bachelor of Science and Business Finance from the University of Kansas and resides in San Diego, California.

Cineplus Installs Christie 4K Pure Laser Projector in its Premium Theatre in Brazil The Brazilian chain Cineplus has outfitted the premium theatre in its Jardim das Américas multiplex in the city of Curitiba with a Christie CP4325-RGB pure laser projector and the Christie Vive Audio sound system in conjunction with Dolby Atmos. Brazilian company Cinecompany carried out the integration. Cineplus is a chain of cinemas with a strong presence in the states of Paraná and Santa Catarina that includes seven multiplexes with a total of 19 screens and over 4000 seats. The complex in Jardim das Américas was the first in the south of the country to have all its screens in 3D and the first in Brazil to be accessible for the blind and deaf. The premium theatre, given the name TSX, seats 420 and is the largest in Curitiba. It is equipped with a truly impressive Severtson screen measuring 16.5 by 7.2 meters. The multiplex, located in the Jardim das Américas shopping center, has six screens, another two of which also have Christie projectors, in this case the Christie CP4220 and Christie CP2215. Marina Pastre, administrative director of Cineplus, recalls the reasons why the company decided to opt for Christie pure laser technology for its

premium theatre: "We had seen the image quality of the CP4325-RGB at events in Brazil like Expocine and ComiCon Brazil (CCXP), and were really impressed. The brightness and contrast it offers are unmatched, and give audiences an unparalleled experience. In such a competitive market as the cinema, it is crucial to be able to count on a new technology that provides added value." She added: "RGB laser projection technology is good for us as exhibitors and also for our moviegoing public. It allows us to differentiate ourselves with an attractive new product and advanced image technology that offers fantastic brightness and contrast. And it saves in costs as you no longer have to think about changing lamps." Cineplus also wanted to equip its premium theatre with the best available cinema sound, which is why it chose the Christie Vive Audio LA Series of speakers in combination with Dolby Atmos. "These line array speakers guarantee a performance and durability far superior to other brands," claimed Marina Pastre. "The clarity and quality of the sound, mainly in Atmos, is really impressive. Not to mention the warranty Christie offers, which is far greater that the other brands we deal with." Pastre also underscored the service provided by Christie in Brazil. "We would like to thank Ricardo Laporta, Sales Manager for Christie's Cinema division in Brazil, for his close involvement in the whole process of modernizing our theatre, not only in relation to Christie equipment, but also giving us the advantage of his experience and know-how and presenting us to different partners and suppliers. His availability at all times was the key to success of this project." With its RealLaser technology and the CineLife electronic platform, the Christie CP4325-RGB pure laser is a compact ‘all in one’ projector complying to DCI standards, which stands out for its superior image quality, durability and low cost of ownership. It is the brightest model in the Christie RealLaser family of projectors.

Cinionic Announces Worldwide Financing Options for Cinema Solutions Cinionic, the Barco, CGS, and ALPD cinema joint venture providing a new visual standard with enhanced services and technology solutions and CSI Leasing, Inc. (CSI) one of the largest independent leasing companies, are pleased to announce a new financing program to service existing and future Cinionic customers around the world. The program enables Cinionic to provide customers with full-service financing solutions for its world-class cinema portfolio, including the company's brand-new Laser as a Service solution, its premium cinema offering, the full range of Barco laser projectors, and the new Barco Series 4 projector, announced during CinemaCon 2019. As more cinemas explore their own renewal strategies, Cinionic and CSI's financing program gives exhibitors the peace of mind providing the flexibility to respond to industry trends and continue to elevate the cinema experience today, future proofed for tomorrow. As one of the largest independent leasing companies in the world, CSI has more than 1,000 employees in 70 offices, and customers in more than 36 countries; enabling customers around the globe to take advantage of flexible lease solutions to power the new era in projection. "Our strategic relationship with CSI Leasing provides exhibitors with the flexible financing solutions needed to invest in solutions today, ready for tomorrow." said Carl Grifka, CFO of Cinionic. "CSI offers an international service, capable of supporting the cinemas illuminated by Cinionic and new customers as we continue to


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grow." "Cinionic specializes in WOW. I am excited that CSI can help deliver WOW moments for even more Cinionic customers," said Kathy Briggs, program manager, CSI. "I truly believe CSI's unique structures, easy-to-understand contracts and industry expertise will help set Cinionic apart even more." CSI's full service includes personal attention, online asset tools and fullservice disposal complete with data sanitization and environmentalfriendly recycling.

First All-Laser Multiplex in North Caucasus All Set to Amaze Audience Located in the Alania Mall in Vladikavkaz, Russia, Alania Cinema is a brand-new six-screen theatre that is dedicated to detail. From the lighting to the furniture's exquisite upholstery and the beautifully decorated halls: every element is carefully chosen to evoke a comfortable and romantic atmosphere. In the screening rooms, Alania opted for Barco's Smart Laser technology, offered by Cinionic-to create the best-possible viewing experience. Alania is the second all-laser multiplex in Russia, and the first in the North Caucasus region. "We partnered with Cinionic and selected Barco laser technology because of its unparalleled image definition and brightness," explains Vadim Berdiev, the multiplex owner. "It makes even the smallest detail on the screen come to life: exactly what we envisioned for our audiences." The Barco laser projectors were installed by Kinocomfort, which was also responsible for equipping Russia's very first all-laser cinema in Kursk. To complement the spectacular screening technology, Alania also equipped its theatres with Barco Immersive Audio using the

APX AuroMax spatial audio processor. With its 27 sound channels and three perception levels, the APX AuroMax processor immerses spectators into life-like audio. "It's all part of our mission to move our visitors with an experience they can't get anywhere else," explains Vadim Berdiev. "Thanks to Cinionic, Barco and Kinocomfort, we have succeeded in doing just that."

Cinionic and Cinema 21 Enter Smart Era of Projection with Barco Series 4 At CinemaCon 2019, Cinionic, the Barco, ALPD, and CGS cinema joint venture and Cinema 21 deliver 4K to audiences across Indonesia with an agreement for 50 Barco Series 4 projectors for Cinema 21 - powering the chain's new-build and renewal strategy. The Barco Series 4, announced during CinemaCon, delivers an unmatched cinema experience for moviegoers today, future proofed for tomorrow; leveraging 4K, RGB laser, as well as being ready for 4K 120fps high frame rate, high dynamic range (HDR) and wide-color-gamut capabilities. "The Barco Series 4 offers our customers a new visual standard for cinema," said Suryo Suherman, Executive Chairman, Cinema 21. "With 4K as a standard and enabling technologies, Barco's Series 4 range offers an elevated experience with unparalleled efficiency, and supports our mission to go full laser projection across our chain." Barco Series 4 was developed in partnership with exhibitors around the world. The agreement with Cinema 21 expands Cinionic's global mission to deliver the best cinematic experiences. "Cinema 21 is a long-standing and valued relationship, we are excited to provide them with the latest offerings from Cinionic and Barco," commented Serge Plasch, CCO, Cinionic. "Series 4 offers a flexible and ready for tomorrow solution."

IMAX and Lochmann Partner to Launch the Largest IMAX Screen in the World, Germany IMAX Corporation and Lochmann Filmtheaterbetriebe, a leading German Independent cinema operator, announced an agreement for a new IMAX theatre to be located in a new addition in the Traumpalast Leonberg multiplex in Leonberg, Germany. The new theatre, which is expected to open in 2020, will feature IMAX's groundbreaking laser experience and an estimated 38-meter screen - marking the largest IMAX screen in the world. "Global demand for The IMAX Experience is stronger than ever as shown by our recent performance and growth in Germany," said Richard L. Gelfond, CEO, IMAX. "Now, through our new partnership with the Lochmann Filmtheaterbetriebe, the largest IMAX theatre in world will reside in Germany and serve as a premium entertainment destination in the country. We look forward to continuing to provide audiences across Germany a truly differentiated blockbuster experience." "If you want your guests to come back to your theatre, you have to offer them an unforgettable experience," said Heinz Lochmann, Head of the Lochmann Filmtheaterbetriebe. "Cinemas are where dreams come to life and where audiences come to relax and be totally immersed in the movies they love. There is nothing like IMAX when it comes to delivering the world's most immersive cinematic experience. "Marius Lochmann, CEO of the Traumpalast Leonberg, added: "We are so proud that we can bring the outstanding IMAX experience to Leonberg. It's the next step on our way to more innovation and more quality in our cinemas." The recent agreement continues IMAX's recent momentum in Germany, where the Company now has 10 theatres open or contracted to open in Germany. IMAX with Laser


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provides audiences with strikingly crystal-clear and vivid images to suspend disbelief when experiencing today's biggest blockbusters. The nextgeneration 4K laser projection system features a new optical engine and suite of proprietary IMAX technologies that delivers increased resolution, sharper and brighter images, deeper contrast as well as the widest range of colours available to filmmakers to present more distinct, exotic colours than ever before. The new system will also feature IMAX's 12-channel sound technology that incorporates new side and overheard channels to deliver greater dynamic range and precision for ultimate audio immersion and sound you can feel.

Kinopolis Gruppe Opens First Dolby Cinema in Munich Dolby Laboratories, Inc. and Kinopolis Gruppe recently announced the opening of the first Dolby Cinema in Germany at the renowned Mathäser Palast in Munich. Film fans can now enjoy the very best cinema presentation in the heart of the city, following the opening of the highly-anticipated site. Dolby Cinema combines Dolby Vision, Dolby Atmos, and bespoke design to create the perfect environment to be fully immersed in the storytelling of a film. Dolby Vision is presented through a dual 4K laser, High Dynamic Range (HDR) projector system, and boasts a spectacular, ultra vivid picture. Compared to standard screens, the Dolby Vision image is twice as bright, 500 times the contrast ratio, has blacker blacks, and an unsurpassed colour palette. Cuttingedge Dolby Atmos sound transports viewers into the scene, filling the cinema with a soundscape that flows all around and above the audience. Dolby works with each cinema location to create the most perfect Dolby Cinema environment possible.

The breathtaking technology is combined with ultimate luxury throughout the cinema including 312 seats and 15 recliners in the first row at the Mathäser site.

Dietrich Theater Neu-Ulm Decides Twice for Atmos and Alcons The demands of moviegoers are growing - and with them the pressure on cinema operators to enable ever better and increasingly immersive cinema experiences. Dolby's surround sound technology Atmos is one of the most sought-after features in the cinema market, and is often integrated into a larger premium concept. Such a premium concept was realized by the two Munich companies zweiB and Videocation in a joint project in the 363-seat Saal 8 of the Dietrich Theatre in Neu-Ulm, Germany. In the course of very extensive conversion work, Videocation was responsible for the installation of a Sony SRX515DS 4K double projection, while zweiB took over the installation of the equally high-quality sound system. The installation of the sound system in the cinema 8 of the house was completed within a week. The result convinced the operator so much that already a few months later a second, identical installation, apart from the lighting concept, was commissioned in hall 9, which was successfully completed the following months. zweiB installed 5x Alcons CR4 3-way Pro-Ribbon screen systems, 4x CB362 subwoofer, 2x CB181sl subwoofer surrounds, 18x Pro-Ribbon CCS12 surround sound systems, and 4x CCS12S and 8x CCS8S as top surrounds. The entire system is powered by Alcons Sentinel3 Amplified Loudspeaker Controllers. "The installation went smoothly," confirms Tammo Buhren, managing director of zweiB GmbH. And the result could be heard: "We realized an impressive installation at the Dietrich Theatre, which sounds really good!"

Alcons Introduces Immersive Surround Speaker The CRS8 is a 2-way passive-filtered full range loudspeaker, designed to meet all requirements of current and future immersive surround sound formats. Featuring the patented Alcons pro-ribbon driver technology, the CRS8 combines an exceptional clarity and intelligibility with an unusually high dynamic range, offering the most realistic sound reproduction possible. The CRS8/9090 system consists of the RBN401 pro-ribbon driver for HF and a vented 8" mid-bass for LF reproduction. The CRS8 HF section has an 800W peak power input, enabling a unique 1:16 dynamic range with up to 90% less distortion from 1kHz. to beyond 20.000 Hz. Due to the "compression-less" principle of the pro-ribbon transducer technology, the system has a fully linear response, with the same tonal balance at all SPL's for an intuitive 1:1 performance. The patented (90-degrees) horizontal

and patent-pending (90-degrees) vertical dispersion of the waveguide, offers a very wide and consistent coverage up to the highest frequencies (20kHz -3dB); Very important for the imaging in height channels of immersive systems. Driven by the Sentinel amplified loudspeaker controller, the Signal Integrity Sensing pre-wiring ensures dynamic cable / connector compensation between the CRS8 and ALC; This offers a 1:1, undistorted natural sound reproduction, regardless of cable length and amplifier impedance load. Typical applications include (height layer) immersive surround sound systems for performing arts theaters, screening rooms, post-production facilities and dubbing stages, premium Home Cinemas and qualityconscious PLF cinemas. Philip "Dr. Phil" De Haan, head of Alcons R&D: "Immersive sound is now coming up in a wide variety of

applications, demanding a diverse choice of dispersion patterns. Following our initial designs with the patent-pending waveguide technology on the RBN202 pro-ribbon platform, very successfully deployed in the VR5 and CRMSC-SRHV systems, we focused on applying our new waveguide development onto our 4" pro-ribbon transducer platform. "The RBN401 is Alcons Audio's most-applied proribbon driver, with thousands in use daily, as critical part of the line-array systems in particular. Now with the integration in the CRS8 reference surround, the wide 900 x 900 dispersion becomes available for larger point-source applications, where extended full-bandwidth coverage is required. Phil continues: "The missing link has finally arrived, for a perfect voicing-match with the other RBN401 pro-ribbon loaded main- and surround systems, completing the seamless 3D immersive experience."

Qube Wire Streamlines Operations for Over 42,000 Screens Across the World Qube Cinema, a leading provider of end-to-end digital cinema technology solutions announced that its content distribution service, Qube Wire has currently over 42,000 screens actively using its application. Theatres use the portal to track content that is being delivered to them and manage their theatre operations. While Qube Wire's Distributor Portal enables distributors to seamlessly book content to theatres across geographies, the Exhibitor Portal allows cinema chains, independent screens and digital cinema integrators to manage their facility details, view and download their KDMs, or choose to automatically forward the KDMs to the correct target facilities. To support these operations, a dedicated and meticulous team works tirelessly behind the scenes to ensure the accuracy of the theatre data and to provide around-theclock technical support. The speed and ease of use of the Qube Wire platform has been appreciated by its end users. As Aldo Sรกnchez Gonzรกlez, the Manager of Projection for Cinemex, a leading chain in Mexico explains, "Using an online platform means that our TDL (Trusted Devices List) can be updated by any approved Cinemex personnel with access to the Qube Wire system at any time. This reduces the time of response and increases the accuracy of our TDL. Now, that is easier and faster to update, the information is more reliable and always available." Speaking of the ease of use of Qube Wire's integrated functionality, Brandon Corrier, Film Buyer at Regal says, "With the creation and integration of Qube Wire's online portal, it has been a smooth and positive experience for Regal. Our theatres are able to get tracking, KDM's, and Qube support all in one place with ease." Qube Wire saw major growth in 2018. There was a 96% increase in distributors using the service, 40% more countries received


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deliveries of content, and more than a thousand movies were distributed over the network. Qube Wire is also providing exhibitors and distributors a platform for electronic delivery of feature film and trailer DCPs across the globe. Qube Cinema started the commercial rollout of its electronic DCP network in early 2019. The coverage is expanding across the globe and as part of the offering to theatres; Qube Cinema is offering the QubeWireTAP, a cloud-connected, in-theatre appliance that allows automated delivery of DCPs and KDMs directly to theatres worldwide over broadband and satellite IP networks.

Dolby Appoints Anjali Sud to its Board of Directors

Dolby Laboratories, announced the appointment of Anjali Sud to its Board of Directors as a new independent director, effective May 13, 2019. The appointment fills the vacancy resulting from the passing of former director Nicholas Donatiello, Jr. in June 2018. Sud is the Chief Executive Officer of Vimeo, a whollyowned subsidiary of IAC and provider of cloud-based software tools that enable creative professionals, marketers and enterprises to stream, host, distribute and monetize videos online and across devices. She has held various positions at Vimeo since July 2014,

before being promoted to CEO in July 2017. Prior to Vimeo, Sud served in various positions at Amazon. com, Inc. from 2010 to 2014, most recently as Director of Marketing. "We are very pleased to welcome Ms. Sud to the Board of Directors," said Peter Gotcher, Chairman of the Dolby Board of Directors. "She brings a unique combination of leadership, technology industry knowledge and operational experience that will greatly add to the strength of the Board."

GDC and DTS Take Major Strides; Growth of DTS:X Screens Boosted GDC Technology Limited, a leading global provider of digital cinema solutions, announced at CinemaCon 2019 over 1,000 global movie theatre screens are installed or committed with its award-winning immersive sound media server with a built-in DTS:X decoder and cinema processor (GDC Immersive Sound Solution) to exhibit motion pictures released with a DTS:X soundtrack. Since April 2018, the highest growth region for new screens was China. China has 900 DTS:X screens that are installed or committed. The rest of the world, including North America, Latin America, APAC, EMEA, and India, have all experienced expansion of DTS:X screens since last year's CinemaCon. Today, one in every three cinema screens in the world, from art houses to multi-screen complexes, count on GDC's technology solutions to enable new cinematic possibilities and experiences. GDC's global expanding footprint and the recent alliance between DTS:X and CJ's ScreenX theatres is projected to bring realistic, rich audio experiences to a much broader audience than ever before. "The digital cinema revolution has raised the quality and consistency of audio in cinemas around the world.

More than ever before, audiences everywhere can hear exactly what movie makers imagined for them with DTS:X," said Dr. Man-Nang Chong, Founder, Chairman and CEO of GDC Technology Limited. "We are excited about DTS:X partnership with CJ's ScreenX. More filmmakers, cinema owners and moviegoers are now able to enjoy the DTS:X immersive sound installed in the VIP-seating / gold-class auditoriums to premium PLF." Since its debut in July 2015, DTS:X has enjoyed worldwide adoption by major Hollywood motion picture studios, cinema owners and mixing stages. Today, more than 200 theatrical titles have been released and exhibited with a DTS:X soundtrack, including Us, Hellboy (2019) and John Wick: Chapter 3 - Parabellum. In addition, more than 100 world-class mixing stages in 17 countries have installed DTS:X production tools. As a worldwide DTS:X licensee, GDC Technology leads the effort to enhance cinemas around the globe.

Cineworld Extends AAM Software to Regal Cinemas: Centralises Operations Over 9,500 Screens Arts Alliance Media (AAM) announced that they are significantly extending their technological partnership with the Cineworld Group plc (CW), one of the world's largest exhibition companies. AAM currently supplies their Theatre Management System (TMS),

Screenwriter, and 3rd line technical support to Cineworld's estate in Europe and Israel, and additionally provides Cineworld head office with control over the 900 screens in their UK circuit with the Producer Circuit Management System (CMS). Following CW's recent acquisition of Regal Cinemas in the USA, they have decided to automate their scheduling and content management using Screenwriter in Regal Cinemas' 7,361 screens, and expand Producer's coverage across CW's entire portfolio, which includes Picturehouse, Cinema City, Cineworld, and Regal Cinemas. AAM will also provide 3rd Line Technical Support to the new sites. "With a circuit that now spans over 9,500 screens in ten countries across two continents, we have a huge amount of operational data available to us." noted Renana Teperberg, CCO at CW. "AAM have proven they can turn that data into business opportunities with their CMS solution. Producer presents us with the centralised visibility, tools, and controls we need to bring consistency to our customer experience and efficiency to our entire circuit, all from head office."CW will roll out Producer at a swift pace, thanks to AAM's newly redesigned CMS, which does not require a VPN, or anything further to install. As soon as Screenwriter, and its add-on, ScreenConnect, are live, Producer will immediately start receiving a stream of data from the connected sites. CW will be the first exhibitor to benefit from this innovative CMS offering, which has been designed with input from cinemas around the world to deliver a complete solution for centralising cinema operations.

CinemaNext Teams-up with Empire Cinemas for its First-Ever Multiplex in Saudi Arabia CinemaNext, Ymagis Group's leading exhibitor services provider in Europe and Lebanese cinema chain Empire Cinemas recently announced the signing of an agreement for the installation of the circuit's first-ever multiplex in Saudi Arabia. The10-screen (728 seats) multiplex equipped by CinemaNext Middle East & Africa will open in Jizan, located on Saudi Arabia's southern Red Sea coast, in the second half of 2019. "Following the signing of our first large-scale equipment project in Saudi Arabia last month, we are very pleased to be partnering with Empire Cinemas on their first Saudi Arabian location," explains Franรงois Inizan, General Manager of CinemaNext MEA. "With our portfolio of hardware and software solutions, as well as our cinema outfitting services and cutting-edge innovations such as the Sphera premium cinema concept and VR offer, this second agreement marks an important milestone for CinemaNext in further contributing to the excellence of the moviegoing experience in the Kingdom." "Saudi Arabia presents a new growth opportunity for cinema exhibitors and this marks a very exciting first step in our development in this effervescent and previously untapped market," adds Empire Cinemas CEO Gino Haddad. "We are investing in comfort and providing exceptional experiences for moviegoers. In addition to its technical excellence, CinemaNext brings to the table a wealth of unique & innovative products in terms of projection and sound equipment. With our 100 years of involvement in cinema exhibition and CinemaNext's first-rate services & solutions, we are excited to play an important role in the strong growth of Saudi Arabia's emerging entertainment sector." June-August 2019


Empire Cinemas' Jizan site will feature CinemaNext's Melody TMS, state-ofthe-art projection systems; two 3D-equipped screens and Dolby Atmos and 7.1 surround sound. With offices in 26 countries and over 13,000 screens installed globally to date, CinemaNext is the largest cinema exhibition services company in EMEA. It provides smart, comprehensive solutions across the board: projection equipment, audio systems, Sphera premium cinema concept, VR activities, Onyx Cinema LED, central systems, cinema outfitting and seating, content management, 3D projection systems and glasses, TMS, digital signage and screens. Clients enjoy the highest level of reliability and lowest cost of ownership through our various services: consulting, design & project management, equipment sales and financing, installation, maintenance, support (NOC), online monitoring, spare and consumables, service agreements and supply chain and logistics.

Eclair Remasters "Cold Pursuit" in HDR for Spain's First Onyx Cinema LED Screen Eclair, a leader in content services for the motion picture and television industries announced its HDR remastering of the Spanish version of Hans Petter Moland's "Cold Pursuit" (StudioCanal, Mas Films, Paradox Films), the second feature film colour graded and mastered at 300 nits for


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Onyx Cinema LED screens through its EclairColor HDR technology. "Venganza Bajo Cero" ("Cold Pursuit"), starring Liam Neeson and distributed in Spain by A Contracorriente Films, had a special screening in Madrid on 21 March at Odeon Multicines' Odeon Sambil, the country's first Onyx Cinema LEDequipped multiplex, post which had its Spanish theatrical released on 10th May. "We are thrilled that the audiences will discover 'Venganza Bajo Cero' in its specially remastered 300-nit HDR version for Onyx Cinema LED technology at the Odeon Sambil cinema in Madrid. It truly brings out the best in Moland's electrifying action thriller," commented Eduardo Escudero, Business Manager at A Contracorriente Films. "By taking full advantage of the screen's technical capabilities - EclairColor HDR DCP, greater contrast and more luminance - the film provides a oneof-a-kind viewing experience for moviegoers." "Following Eclair's 4K HDR remastering of Antonin Baudry's critically-acclaimed 'Le Chant du Loup' ('The Wolf's Call') for Onyx screens last month, the color grading on 'Venganza Bajo Cero' was performed as a close collaboration between our teams in Spain and France," explained Angel Martin, Eclair Spain Country Manager. "Eclair is proud to be the only lab in the EMEA, and the second in the world, to provide professional services tailored for this new emissive technology - infinite contrast, color grading with true zero nit black, and EclairColor DCP mastering delivering the highest levels of visual quality and technical performance."

QSC Expands Q-SYS Ecosystem for Cinema Applications QSC announces additions to the Q-SYS Ecosystem, including new DPA-Q Series network power amplifiers, Q-SYS NS Series network switches, and the Q-SYS NV Series network video endpoint.The new DPA-Q Series amplifiers are four- and eight-channel network amplifiers uniting the QSC legacy of robust power amplifiers, advancements in high-efficiency output devices and native network transport, and the control and monitoring capabilities of the Q-SYS Ecosystem. DPA-Q Series amplifiers are fully native components of the Q-SYS audio, video and control (AV&C) Ecosystem. Like all Q-SYS peripherals, DPA-Q Series amplifiers offer simple dragand-drop integration into a Q-SYS design, enabling network routing, advanced processing (including Intrinsic Correction custom voicings for QSC loudspeakers) and control. This expedites the installation process and provides superior system performance. All DPA-Q Series network amplifiers, including both four and eight channel models, use a new 5th generation high-efficiency, Class-D hybrid powertrain design built upon the dependable PL380 PowerLight amplifier platform. The new design offers both high voltage and high current operation with excellent audio quality and thermal performance."Q" models offer mic/ line inputs (with +12 V phantom power) directly on the back of the amplifier that act as Q-SYS on-ramps in addition to its amplification duties. "Qn" models feature only network inputs to simplify system design and reduce system cost when additional mic/line inputs are not needed. Both models provide bi-directional GPIO ports plus one relay for further control and integration of other third-party peripherals within Q-SYS.

Q-SYS NS Series Network Switches For cinema technicians looking to expedite deployment of Q-SYS on a local network, QSC introduces the Q-SYS NS Series. The NS Series is a range of enterprise-grade, fully managed 1/10GbE network switches that are pre-configured to meet the performance requirements of the Q-SYS Ecosystem and associated thirdparty networking technologies. Available in 8-port, 24-port and 48-port models, these Dell EMC network switches provide realtime transport of Q-SYS AV&C, as well as AES67 audio streams simultaneously within the same VLAN, all without the need to manually configure the network switch or end points. Independently tested and verified by the University of New Hampshire Inter Operability Laboratory (UNH-IOL), the NS Series is a plug-andplay solution that enables faster, more reliable system deployment and ensures support for the entire Q-SYS Ecosystem, including future networked Q-SYS processors and peripherals.

Q-SYS NV Series Network Video Endpoint The Q-SYS NV Series (NV-32-H) network video endpoint, developed specifically for the Q-SYS Ecosystem, is a native, multi-stream, softwaredefined HDMI encoder/decoder that enables network-based video distribution. The NV Series features the new QSC Shift video compression codec, which provides low latency video streaming with resolutions up to 4K60 4:4:4 over a standard gigabit network by dynamically adjusting network bandwidth consumption based on video content. This provides flexible and network efficient compression and distribution of common meeting video content without sacrificing the ability to stream full motion video. For Q-SYS-enabled cinemas who offer their facilities for business presentations, sales meetings, or alternative content, the NV Series provides a simple and cost-effective way to present video content anywhere in the cinema complex.

Mingalar Cinemas Brings JBL Immersive Audio to New Gold Class Theatres Goldenduck Group recently deployed a state-of-the-art JBL by HARMAN audio system in Mingalar Cinemas' new Gold Class theatres to deliver world-class audio. Mingalar Cinemas is Myanmar's largest movie theatre chain with twenty-seven locations across eight cities. Mingalar also owns and operate the first high-definition Gold Class cinema in the country, which features three halls with luxurious, automatic reclining seats and cutting-edge visuals. In order to deliver premium sound in their Gold Class theatres, Mingalar entrusted Goldenduck Group, a leading supplier of professional cinema equipment, with installing a cutting-edge JBL Professional cinema audio system. "Mingalar wanted to offer an immersive entertainment experience with excellent audio quality," said Sittiporn Srisanguansakul, Owner, Goldenduck. "The HARMAN sound systems we installed offer the uniform coverage and expansive dynamic range required for digital sound formats in modern cinemas. By using HARMAN products, we were able to provide Mingalar with a cost-effective solution that helped them extend a realistic audio experience to their visitors." Goldenduck selected JBL Professional cinema loudspeaker systems for their extended frequency response, reliable operation and accessibility. JBL 4722 Two-Way ScreenArray Cinema Loudspeaker Systems provide a smooth and accurate reproduction of cinema soundtracks. High-quality JBL 4641 subwoofers deliver smooth, powerful low-end for scores and sound effects. Wall-mounted JBL 8320 Compact Cinema Surround Speakers offer clarity, detail, and depth in a compact enclosure. The systems are powered by Crown DSi 1000 and DSi 2000 power amplifiers.

Cinépolis - Volfoni Collaborate Towards Expansion in Bahrain, Oman and Argentina Volfoni Limited, the leading European provider of 3D technology, announced that Cinépolis, the largest cinema exhibitor in Latin America and fourth largest cinema exhibitor in the world, has selected Volfoni as its new 3D provider for their new cinema complexes in Bahrain, Oman, and Argentina. Cinépolis has gained a lot of traction, rapid growth, and recognition for its state-of-the-art and luxury theatres around the world, proving that choosing nothing but the best in technology would place them amongst the moviegoers' top choices. All of Cinépolis' new cinema complexes use a combination of SmartCrystal NEO and the awardwinning SmartCrystal Diamond that provides the best light efficiency and image sharpness of all 3D solutions available in the market today. "We are very honoured to have been selected by a cinema chain that prizes what is best in technology and demands a great and immersive experience for all of its patrons. Our products deliver such an experience and we are thrilled to collaborate in such great projects", says Paula Silveira, VP of Business Development in Volfoni Americas. Cinépolis arrives in the Gulf Cooperation Council ("GCC") region with a 30 screens' theatre complex in the Atrium Mall, Sar in Bahrain, that will raise and set the standard for high-end luxury theaters providing a premium experience by using the latest technology and amenities, including Macro XE, 4D Emotion, 3D technologies, and kid-friendly Cinépolis Junior auditoriums. The same standard will be used in Oman's Avenues Mall and other future multiplexes in the region.

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Galalite Celebrates 60 Years of Innovation This year, Galalite is celebrating their 60th Anniversary! To honour this milestone, Galalite has unveiled their marketing campaign for the coming year - #BeTheLight. As a part of this campaign, they pledge to donate a share of their profit to aid the visually impaired and spread awareness about preventive blindness in association with Sightsavers - a NGO which works to prevent blindness. Having touched the lives of cinema-goers for 60 years by offering unparalleled movieviewing experiences, they now endeavour to touch the lives of people who do not have the privilege to see. With the help of this initiative, Galalite is set to change the lives of visually impaired individuals who will be given proper care and treatment, to not only imagine but see. As they step into the new year with an aim to transform the future of cinemaviewing and change the lives of many, they remain deeply rooted in the journey that contributed to their success. From introducing 3D film technology in India and becoming the first Indian company to invent fire retardant fabric to having its indigenous coating facility and adding the path-breaking Lensray Technology to their screens - Galalite still remains the pioneer of innovation and technology in the cinema screen industry.

of the movie industry in India, Galalite has emerged as one of the largest suppliers of screens to exhibitors worldwide. Galalite sincerely urges the industry to join hands with them for this thoughtful initiative - #BeTheLight, and also requests each one of us to be more aware and careful about maintaining a good eye health.

Speaking on the occasion, Yusuf Galabhaiwala, Director of Operations said, "We at Galalite, take immense pride in the trust, respect, and position we've garnered in the cinema screen industry. We owe these 60 years of innovation and excellence to our partners in growth - right from our employees and clients, to our competitors, who make us want to be better and reinvent the future of cinema-viewing." A family-owned business since inception in 1959, Galalite, the flagship brand of GTC industries manufactures the widest range of innovative Projection Screen surfaces. Headquartered in Mumbai, the Commercial Capital and Heartland

"Clarus XC 290 is the result of significant development in our Clarus screen coating technology. Through this step-change in technology we're able to improve our previous highbrightness Clarus product without compromising on any aspect of visual performance thus providing exhibitors and indeed moviegoers with an incredible viewing experience. Clarus XC 290 also allows exhibitors to improve on screen brightness by up to 20% (versus traditional silver screens) whilst still improving light distribution," says Matt Jahans, Director of Cinema Technology at Harkness Screens. At its core, Clarus XC technology features 4th generation d-smooth


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Harkness Screens Launches New ClarusXc 290 High-Brightness 3D/2D Screen Harkness Screens the world's leading screen technology company and thought-leaders in cinematic presentation quality has announced the launch of the latest addition to its industry-leading Clarus XC screen family. Clarus XC 290 is a new and improved high performance 3D/2D screen that combines high reflectance with outstanding performance including wide viewing angles, sharper clarity, rich colours and deeper 3D depth. From its spectacular performance in 3D, Clarus XC 290 technology allows cinema exhibitors to dramatically improve both 2D and 3D cinema presentation like never before.

coating technology which has specific properties more commonly seen in white screens. This technology enables Clarus XC 290 screens to benefit from significantly wide viewing angles, improved color and contrast and better light distribution compared to traditional 3D silver screens. All Clarus XC 290 screens feature Harkness' proprietary Nanolast coating technology which provides additional improvements in visual performance as well as added durability. As part of the launch of Clarus XC 290, Harkness Screens has retired its existing Clarus XC 270 product.

Introducing Strong/MDI's New Foldable Stereoview 3D Screen Strong/MDI announced the introduction of its new Foldable 3D Silver Screen. The Foldable Stereoview 3D Screen, available immediately, reduces international shipping costs by up to 50% percent and facilitates easier screen handling and installation."Smaller packaging means lower shipping costs for our customers, especially those overseas." says Francois Barrette, Vice-President and General Manager at Strong/MDI "Additionally, more shipping options are now available for large screens. Smaller crates can be shipped via passenger aircraft favourably impacting both shipping costs and lead times." The Foldable Stereoview 3D screen is also much easier to handle and deliver to the installation site, especially where access to the auditorium is limited. The use of smaller transport trucks is also a solution to urban delivery challenges. One Strong/MDI's new Foldable 3D Screen has the same unmatched durability customers have come to expect from the company's premium screens. Light distribution properties are also best in class, with the widest half gain angles relative to gain in the industry.

DTS, GDC, and B&B Theatres Extend Partnership with DTS:X DTS, a global leader in highdefinition audio solutions and a wholly owned subsidiary of Xperi Corporation announced the addition of 14 new DTS:X enabled cinema screens as an extension of its longstanding partnership with GDC Technology (USA) LLC ("GDC") and B&B Theatres ("B&B"). DTS creates immersive sound technology that, combined with GDC's Immersive Sound Solution, delivers a captivating entertainment experience to guests of B&B, the sixth largest theatre chain in North America. The deal extension includes four ScreenX theatres and 10 GRAND SCREEN premium large format (PLF) rooms, making for 29 total DTS:X auditoriums with B&B. The agreement follows a successful beta theatre at B&B's Liberty, Missouri location, which combined DTS:X sound with ScreenX,

the world's first multi-projection immersive cinematic platform that provides moviegoers a 270-degree viewing experience by expanding the scene onto the side walls. The DTS:X ScreenX theatre is consistently one of the highest-grossing ScreenX locations in the U.S."B&B Theatres is dedicated to enhancing the moviegoing experience." said Brock Bagby, Executive Vice President of B&B. "We believe that DTS:X immersive sound in our GRAND SCREEN auditoriums is a winning combination and our GRAND SCREEN ScreenX with DTS:X room offers an extraordinary experience that our guests can't get anywhere else!" The first ScreenX theatre with DTS:X to be launched as part of this pact is scheduled to open late Spring 2019 in B&B's Overland Park, Kansas location. The new ScreenX Theatre

with DTS:X will feature certified custom low-profile surround speakers that fit under the ScreenX side screens for a seamless visual experience. The low-profile speakers, deployed in a full DTS:X immersive system, provide premium sound quality for an extraordinary experience. "DTS:X offers B&B Theatres the flexibility to offer a premium sound experience not only for their Grand Screen and ScreenX, but also their move-down auditoriums, said Annie Wang, Executive Vice President of GDC Technology USA. "This agreement covers both new construction and remodels, continuing our partnership with DTS to make B&B the best place to enjoy movies. We congratulate B&B Theatres for its vision to provide their guests with an entirely immersive sound experience like no other, setting them apart from competitors."

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• INSTALLS • The State Theatre in Washington Iowa, USA has consistently served as a sanctum of cinematic excellence ever since its screening over 122 years ago on 14 May 1897. Following an extensive revitalization of in 2010, the locals of Washington Iowa have hailed the State Theatre as a community treasure; with the venue attracting cinema enthusiasts from across the world who visit to experience the glory of its uniquely restored 1940's appearance that exudes a magical charm of the golden age of Hollywood. Raghavendra T - Editor-Publisher, TheatreWorld visits the cinematic shrine, where theatre-manager Crystle Christner along with owners Robert L Fridley and Brian Fridley host a detailed tour of the venue as they discuss the State Theatre's rich legacy, it's restoration, the current weekly movie schedule and what's in-store for the years to come. On 26 April 2016, the prestigious Guinness Book of World Records heralded the Washington Iowa State Theatre as the oldest continuously operating cinema theatre in the world, running in for over 118 years and 384 days at the time. And to this day the iconic structure still stands proud - revitalized in appearance but still exuding the same old charm that it did way back in the early 1900's. In our fast paced world, where cinemas have stepped into an age of multi-screen spaces with the latest in high-tech AV experience, the State Theatre retains the magic of a traditional cinema hall setting as it affords a valuable glimpse into the past by giving patrons the opportunity to enjoy a movie experience the way people did almost a hundred years ago, but with

the technological frills that you'd expect from a modern-day establishment. An indelible piece of history in itself - the State Theatre has, for several years, stood as a cherished beacon of cinema-culture not just for the 7000+ residents of Iowa's Washington city, but also for cinema zealots across the world.

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HISTORY IN THE MAKING Officially opening their doors to the public on 14 May 1897 with a capacity of 783 seats, the State Theatre (formerly known as The Graham Opera House), showed the first ever moving picture at the venue on a cinematographe that was made in Paris, France. Back then, tickets for the first moving picture were sold to the public for 15, 25 and 35 US cents each; and there onwards, the State Theatre continued to show motion pictures on a regular basis. This was almost entirely due to the brilliant and enterprising W. Frank Brinton - a wealthy farmer's son who devoted his life to projecting early motion pictures. Frank and his wife's efforts transformed the State Theatre into a thriving cinema where films played to sold-out houses almost every day that the theatre was functional. Brinton purchased films from catalogues produced by the leading companies of the day, almost all of which were showcased at the State Theatre. At around the same time, the husband-wife duo established The Brinton Entertainment Co. which


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travelled from Minnesota to Texas projecting several early films from as far away as Europe and the Middle East, as well as hand-painted "magic lantern slides". And their efforts, by all accounts, were a great success. Speaking specifically about the State Theatre - the cinema drew in values of about $100 a day during its peak; which for the era, was an incredibly huge amount of earning. After Frank's death in 1919 the State Theatre witnessed several

changes in operations as well as appearance - with the theatre witnessing several overhauls over the course of its existence.

OF DARK CLOUDS & SILVER-LININGS In November of 2010, a cigarette discarded in a trash can ignited a fire in the projection room, which subsequently led to extensive smoke and water damage throughout the


building. Owing to this, the State had to ultimately be shut down, leaving the theatre loving community in Washington griefstricken. Luckily, the State had its very own guardian angel looking over itRobert L Fridley of the iconic R.L Fridley Theatres -who, along with

his son Brian, took up a determined effort to have the beloved State Theatre up-and-running within little to no time at all. Robert L Fridley started running movies in 1936. He operated a Jack Rabbit Circuit, where he travelled from town to town and set up portable projectors in places that

didn't have a theatre. In 1974 he formed R.L. Fridley Theatres, Inc. as an Iowa corporation; and under his leadership the company has been a prominent leader in the motion picture theatre exhibition business for over sixty years, providing exceptional service and presentation, great entertainment choices, and competitive prices to the local communities that they serve. After the fire caused extensive smoke and water damage to the iconic theatre place, R.L. Fridley Theatres the current owners of the Washington Iowa State Theatre commissioned a serious remodelling of the venue, utilizing historic tax credits and grants funnelled through Washington's downtown revitalization group. The extensive overhaul involved work carried out on the interiors as well as the exterior facades of the theatre, with the industrious owners deciding to go

Raghav with Adam Nihart, Deputy Manager, R.L. Fridley Theatres

Raghav, Editor-Publisher of TheatreWorld with Robert L Fridley, Owner of State Theatre at their newly opened The Palms Theatres & IMAX, Iowa

Adam Nihart with Crystle Christner, Theatre Manager, State Theatre

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• INSTALLS • against the grain of a modern look and instead channel efforts into restoring the building to the way it looked back in 1942. 102 year old Robert Fridley, founder of R.L. Fridley Theatres inc, comments on the decision saying, "This theatre has stood as a celebration of community for decades. The State is not just a part of history; it is history in itself. As a theatre, it has always been the one place that people visited to take a step back into time quite literally; and become one with the rich history and legacy of cinema. That's why we decided to restore the State to resemble what it looked like during one of its most glorious periods of existence."

RESTORING OLD GLORY Reopened in April 2011 and operating strong ever since, the theatre affords throwback to the old era in several aspects, the likes of which include a newly installed digitally lit marquee that's been fashioned to look like the one in 1942, complete with vintage styled lettering. Improvements inside the theatre also came in the form of work commissioned to rejuvenate the seating and carpets, the concession area, and much more. The enlarged concession stand sports an expanded menu offering pretzel bites, pizzas, and more; of which unsurprisingly though, popcorn,

soda and candy remain the top sellers. There's also a restored balcony section, which was reopened after several years following elaborate work done to restore the seating and structural integrity at the space. That apart, a new gold waterfall curtain was commissioned on the stage, which has ever since, been lifted before each show to introduce the movie being displayed, just like the old days. Brian Fridley of R.L Fridley Theatres shares, "We wanted to maintain the State's legacy, which is why much of the work has been more practical than aesthetic. From the restored, digitally lit marquee to the plushcarpeted lobby hung with classic movie images to the gold-accented, red-and-black paint scheme, the intent was to make the theatre a place you want to be, a place where you can reminisce, relive an era gone by, and experience something more than watching movies in a modern multiplex."

TWO STEPS FORWARD… The State's decision to remodel its appearance based on its look in the 1940's must not be misunderstood as any kind of disdain for technological advancement, as the management have clearly incorporated the best in today's offerings to extended


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modern comforts to their patrons. For example, the seats in the early days were fixed back with very negligible recline value and more intune with a side-seating format (with respect to the screen). In contrast, the theatre now boasts a comfortable seating scheme with rocker-back seats that sport cup-holders and better leg-space, which is more in accordance with conventional formats. That apart, the owners have also integrated a state-of-the-art Barco digital projection, Dolby Digital surround sound, RealD 3D system, JBL Speakers along with QSC Amplifier and Server by GDC Technology, which ensures that movies at the State Theatre today can be enjoyed in both 2D as well as 3D; of course, with a variety of popular candies and drinks!

BUSINESS 'WISE' The all-important question of 'How has the remodelling worked with the community?' is addressed by the State Theatre's manager, Crystle Christner, as she asserts, "A lot of work has been done. The theatre recounts the glory that it's carried for over the past 100 years, and the community is loving it! We were pleasantly surprised with the public appreciation and the business uptick we saw, and I guess we can say that the improvements were well received."


And how exactly has business been for The State? Crystle shares that the theatre now shows recent and first-run movies (including 3D) 365 days per year on its single screen, with free 46-ounce popcorn every Tuesday with paid admission. Usually it screens 2 shows during weekdays and 4 during weekends, with the management usually deciding the week's show scheduleon Mondays. Standard ticket prices apply to all seats including ones at the balcony and the ever popular "middle-middle" seats located at the central section on the lower level, and patrons can also book their tickets online, perfectly demonstrating the State Theatre's ideology of incorporating and delivering modern luxuries in a vintage setting.

A GRIPPING SENSE OF COMMUNITY When asked whether the State Theatre could have been more successful had it adopted the multiscreen approach, Crystal affirms that locals probably wouldn't have reacted with as much gusto as they aren't too keen on multiplexes. Making a light hearted reference to how customers enjoy eating popcorn from a machine that's been in action since 1948 she jokes, "The popcorn here is really well-seasoned, and people absolutely love it!" On a more serious note though, she explains the notion why the community isn't really enamoured with the concept of multiplexes, saying "Sixty-five to seventy percent of our population is retired. Yes, they do love enjoying digital projection and full surround sound as they take in a film. But what they appreciate even more is enjoying the

atmosphere of a vintage cinema hall. They don't want new-fangled stuff," she said. In fact, the community played quite an active role in the theatre's restoration, with residents volunteering to pitch-in in whatever way they could to help. And their active participation towards the theatre welfare is more than evident in their continual love, support and patronage. Says Crystle, "So many people have given to the project; so many people have donated their time and talent, and it's been so neat to see how the community has reacted and joined in. We have about 15 employees here - all of whom have dedicated so much to the theatre; and patrons pretty much know and interact with us like we're all part of one big family.

The development is a testament to the can-do spirit of this community."

THE STORYBOARD CONTINUES... It's true - few things in life are more magical than going into a classic movie theatre and getting lost in the stories projected onto the screen... from the aroma of lovely buttery popcorn and the hush and anticipation as the lights dim for the movie to begin-watching a movie on the silver-screen is timeless experience. This is the kind of joy and atmosphere you can expect from your visit to the Washington Iowa State Theatre. The theatre is undoubtedly a historic gem and one that will be enjoyed by the local community and visitors from afar for years to come. If you haven't been here yet, it's definitely worth a trip.

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Avengers: Endgame

Ending On A High Note More than a decade and 21 films in the making, all roads in the Marvel Cinematic Universe have led to "Avengers: Endgame"; as the fourth and final installment of the current phase of the MCU finally arrived in theatres bearing the load of ridiculously high expectations from audiences and box offices alike. For all that it's worth though, "Endgame" has more than just lived up to its hype and high-roller billing, with the blockbuster movie smashing records in quick time and scaling milestones with apparent ease. For those who've chosen to live under the proverbial 'rock' all this time - Avengers: Endgame is the epic finale to the current phase of the Marvel Cinematic Universe. Anthony and Joe Russo return to direct MCU's 22nd installment, which picks up right where Avengers: Infinity War left off, where the dastardly Thanos (Josh Brolin) took out half of all sentient life on Earth with the snap of his fingers. The superhero blockbuster stars Robert Downey Jr.


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as ‘Iron Man’, Scarlett Johansson as ‘Black Widow’, Chris Evans as ‘Captain America’, Mark Ruffalo as the ‘Hulk’, Brie Larson as ‘Captain Marvel’, Chris Hemsworth as ‘Thor’, and Paul Rudd as ‘Ant-Man’; with a host of several other top stars joining in to play key cameos throughout the pace of the movie. The classic Good vs Evil / Right vs Wrong narrative witnessed brilliant cinematography and story-telling with the perfect amount of action,

which threw audiences around the world into a wave of emotions, and made this movie an instant classic.

An Unprecedented Global Success Not even a fortnight into its run, Endgame soared through the charts globally, amassing a staggering $2,188.7M to sail past Titanic and become the No. 2 movie ever worldwide. Even overseas, Endgame

• BUSINESS TREND • reigns No. 2 with a running cumulative of $1.569B. Endgame joins the elite top 3 list as it smashed records by becoming the fastest film to hit the $2B+ mark in a mere 11 days. Avatar, the previous record holder, did it in 47 days. Both globally and offshore, Endgame is led by only Avatar; with figures as of May 15, 2019, affirming that the film successfully completed its theatrical run with a total collection of $2.78B worldwide. One area where Endgame has already overtaken Avatar is in international IMAX. The offshore gross in the format has now become IMAX's biggest overseas release ever. Most of the numbers have been drawn in from China where Endgame is also IMAX's top title of all time. Picking up $36.7M globally, IMAX had its best-ever second weekend result, with the worldwide cume over the second weekend standing in at $170M, overtaking Infinity War. In other milestones, Endgame has already generated over $1B in 3D ticket sales worldwide, becoming the quickest to the mark and only the third title in history to get there, after Avatar and Star Wars: The Force Awakens. As of May 6, 2019, over $1B of the film's global cume was accounted for from 3D. 4DX theatres have now grossed a great deal from showing Endgame, with several screeners reporting an approximate of 30-32% increase over Infinity War.

Endgame dropped by 55% from the record-smashing debut session, which in essence, is still a stronger hold than the second weekends of Avengers: Infinity War (-61%) and Captain America: Civil War (-59%). Holds across Asia-Pacific were in the 40%s while the same goes for big Euro markets. The movie held the No. 1 spot in all international markets except Japan, with the movie churning incredible business numbers in China, where it is now recognized as the most successful Hollywood film to be screened in the country. Endgame also sits as the biggest all-time industry release in countries including Indonesia, Malaysia, Philippines, Vietnam, Egypt, Ethiopia, Middle East Oman, Qatar, Saudi Arabia, Ukraine, UAE, Mexico, Colombia, Central America and Paraguay.

CONQUERING INDIAN TERRAINS Locally in India, Endgame has become the first Hollywood film to have crossed the INR 350 crore mark, reigning in as the highest grossing studio movie ever with over $52M amassed as of May 6, 2019. Released in English, Hindi, Tamil and Telugu; the movie witnessed an advance booking of tickets at an 'unimaginable and unprecedented rate', with a peak of 18 tickets booked per second even before its release in the country, as confirmed

IMAX Worldwide Opening Box Office Record ‘Avengers: Endgame’ marks the second Hollywood film to ever be shot entirely with IMAX cameras, set a new IMAX all-time worldwide opening weekend record grossing approximately $91.5 million, surpassing the previous record holder ‘Star Wars: The Force Awakens’ by an astonishing 92%. by BookMyShow. Ashish Saksena, COO - Cinemas, BookMyShow said, "Avengers: Endgame, the concluding film in the decade-long Marvel Cinematic Universe's journey, has bested all previous Hollywood films released in India - a feat that is not surprising at all! The film's phenomenal performance on BookMyShow, with almost 8.5 million tickets sold so far, is not only a reflection of the massive Marvel fan-base here in India, but also a testament to the preference of millions of moviegoers who continue to choose BookMyShow to watch their favourite films, week after week. While the opening weekend already set massive records, the film's net box office collections are pegged at over INR 355 crore so far and expected to cross INR 375 crore overall, as the film continues to enjoy audiences' undivided attention and keep the cash registers ringing."

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• BUSINESS TREND • 4DX surpassed $32M Box Office 4DX-Marvel's record-shattering blockbuster keeps crashing all previous records. ‘Avengers: Endgame’ 4DX once again shatters previous records by reaching 32 million USD in Box Office and 2.5 million audiences by May 12th, 2019- a record shortest time. Such outstanding record is outpacing the previous record by ‘Jurassic World Fallen Kingdom’ ($31.3 million).

In the same stride, Carnival Cinemas on their part, affirmed that over 2.25 lakh tickets were pre-booked before the movie's release, which amounts to about 74 per cent of the capacity for weekend, with maximum tickets being purchased in Delhi/NCR and Mumbai. Devang Sampat, Director- Strategic Alliances at Cinepolis, shares his insights on the various factors that have contributed to Endgame's rousing success in India, as he comments, "The long and rich history of this Marvel franchise meant that Avengers: Endgame was anticipated to do well and the promotions for the same had begun well before the release. The movie was primarily promoted digitally, with social media playing an important role; and all efforts payed rich dividence when Endgame broke Baahubali's record of advance sales. There was tremendous buzz surrounding the advance opening and unique show-timings (early morning and late night), and the movie's reach has extended way beyond metros, with versions dubbed in Hindi, Tamil and Telugu ensuring Endgame's unprecedented


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success even in those parts of the country where Hollywood content has not performed well historically". Reports from Cinepolis suggest that key aspects of business such as Food and Beverage revenue have also been higher than average, proving to be a double plus for the cinema chain. This can also be extrapolated to other chains across the country as well, since most of theatres across the country have witnessed a similar upsurge in business referencing Endgame.

Formats such as 3D and 4DX have also performed really well in India; as Devang confirms, "Usually for 3D movies, 2D format's contribution is generally at 5-10%, meaning that people prefer to watch these movies in special formats. However, in the case of Endgame, due to the 3D capacity being fully booked the contribution of 2D format increase to 20%. It was at 14% in Avengers: Infinity War. Premium formats like IMAX and 4DX witnessed house-full shows throughout the first week, with ardent cinema fans opting to experience each and every detail of the movie in a state-of-the-art auditorium with the best visual and audio experience. We witnessed that our ATMOS, IMAX and 4DX shows were sold-out way before our traditional shows. One cannot deny that movies like Avengers: Endgame do a lot to bring in new audiences to theatres due to the buzz around them. With franchise movies there is an incentive to watch all movies in the series, so it's helpful to business".

HIGH-ENDS Ardent fans across the globe will concur Avengers: Endgame as the perfect finale to the current phase of the MCU franchise, with a gripping storyline and solid performances from the entire cast carrying the movie into unchartered success. Love, adulation, support, and of course, unmitigated commercial success is now, and forever will be, synonymous with Avengers: Endgame.


REV Cinema:

Haiti's Streak of Joyous Hope After a ten-year blackout, projectors started beaming again in Port-au-Prince with REV Cinema. With a 68-seat room, ambient sound and projection system, REV Cinema has given a ray of hope to all its locals to get the streak of cinemaviewing in its culture. The conditions have been crucial to the Caribbean country of Haiti, where for so many people watching a play or a movie becomes a luxury withvery limited funding options for producing plays, educating actors, and developing cinemas. Haitians have had an oral culture; a culture of telling stories; a culture of the spoken word. Theatre uses words and stories and enables them to examine and reflect upon how their live our daily lives. It is about feelings, about loss, about struggle, about politics, about triumph and frustration, a lot of frustration, and everything else that makes the world here. After a ten-year blackout, projectors started beaming again in Port-au-Prince with REV Cinema and


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the cinema is in all gleams to let the Haitians experience the world of watching movies as day-to-day entertainment medium. REV Cinema offers its services to cinephiles in the metropolitan area in the comfort of its 68-seat room every day since June 2015 at a time when dark rooms were absent. With the founders strongly believing in the potential of the sector and work towards its

revitalization, the cinema brings to the community the realization of a dream of leisure long remained inaccessible.

The Design Specs The single-screen theatre room facilitated with a five meter silver screen with Barco F80 q7 laser projection and 7.1 sound system


Talking of the crowd with regards to the moviegoing culture, it can be considered virtually dead with some of the cinemas no longer existing, some in the form of ruin, and just a handful still in running conditions. With the condition being very poor wherein some institutions show movies in streets and conference rooms, giving very poor picture and sound, the culture of movie watching finally was taken into consideration only by REV Cinema as a formal offer. With a few grand social engagements like the FESTIVAL DU FILM FRANCOPHONE (2018) in partnership with the "InstitutFrancais" in Haiti, FESTIVAL NOUVELLES VUES

D'HAITI in partnership with Sine Nouvèl and Annual Ecological film festival, REV Cinemas is now working

towards establishing two more theatre rooms in Delmas next to the last theatre that closed in 2004.

gives the chance for the Haitian locals to experience the world of moviegoing through this immersive cinema viewing experience. The whole room is designed in correspondence to a Checkerboard design to give in more emphasis on the screen.

festivals are also shown at Rev Cinema. Non-theatrical movies from Hollywood are also watched by the patron with great zeal. Alongside to these, Rev Cinema also shows awareness contents and documentaries provided by the partners.

lose the habit of cinema-going. With the poor conditions in and around the corner, no investor possibly believed to have a cinema exhibition industry in the Caribbean country. With no money, credit, loan, grant and special funding for the culture, Haiti lacked the very urge of getting the theatres running on its grounds.

Movies Played

The Dark Set Down!

Haitian movies are run on a regular basis. Apart from that, famous French and Canadian movies for the film

There has always been an absence of cinemas since 2004 in Port-au-Prince and this left most of the Haitians to

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Galaxy Theatres, Las Vegas:

Exceptional Experience to Endure Electronics Inc. is introducing Sony Digital Cinema, the company's experiential premium large-format (PLF) movie theater auditorium. Working in conjunction with stateof-the-art movie theatre company, Galaxy Theatres, the world's first location will debut at their Las Vegas Boulevard Mall venue. Sony Digital Cinema is a new experience for PLF theaters that includes Sony's industry-leading dual laser projection system - which provides exceptional picture quality and immersion - along with powerful sound and luxury reclining seats. The auditoriums' high-contrast projection systems authentically bring filmmakers' stories and vision to life with a vibrancy that matches their original intent. As audiences demand unforgettable theatrical experiences, Sony Digital Cinema auditoriums provide a way to visually and emotionally connect and engage fans with big screen stories. The first location, at Galaxy Theatre's deluxe Boulevard Mall site, will be the largest auditorium in the Las Vegas market, further enhancing


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Galaxy's distinction as the Best Movie Theatre in Las Vegas, according to Las Vegas Weekly and Las Vegas Review-Journal.

Moviegoers at Galaxy Theatre's deluxe Boulevard Mall site have a greater reason to cherish; the largest movie theatre auditorium in the Las Vegas market, further enhancing Galaxy's distinction as the ‘Best Movie Theatre’ in Las Vegas. The Dual Laser Projection System, powerful sound and luxury recliners authentically bring filmmakers' stories and vision to life with a vibrancy that matches their original intent.

"This location in Las Vegas is the first in what will be a nationwide rollout of Sony Digital Cinema experiences, which will drive audiences to the movies," said Bob Raposo, Head of Cinema at Sony Electronics. "Sony has the capability and tools to be involved in every aspect of a film, from capture, workflow and postproduction, to film production and distribution, and experiential theatre solutions. We are uniquely positioned to understand and develop products that directly impact


and elevate cinemas and their audiences." "We strategically chose Las Vegas, a city synonymous with world-class entertainment, for the launch of our new Sony Digital Cinema auditorium at Galaxy Theatres," explained Rafe Cohen, president of Galaxy Theatres. "We strive to exceed customers' expectations of a best-in-class theatrical destination, from the concessions and the seating to the technology. We turned to Sony, a company known for quality and

excellence, to create a first of its kind Sony Digital Cinema auditorium that is sure to make our Boulevard Mall location a destination for those seeking the best cinematic experience on every level." For more than a decade, Sony has been working with many of the world's biggest and most prestigious theater chains, as well as small independent circuits and art house cinemas to provide exceptional products, service and support that re-invent the moviegoing

Raghav, Editor-Publisher of TheatreWorld at the Galaxy Theatres, Las Vegas

experience. Robust offerings include 4K, laser, lamp, HDR, 2D and 3D projection technology options. Sony solutions provide the flexibility requested by theatres, and the superb image quality and natural colour reproduction that enhances audience engagement.


WEIN Cinema:

Asia's Largest Cinema Complex

Located within the massive Shanghai National Exhibition and Convention Center, which also contains multiple exhibition halls, a business centre, high-end office space and hotels and with more than 5,000 seats total, WEIN Cinema contracted with ACE Film and Television Equipment Co., a high-end theatre brand operated by Dadi Digital Cinema Corporation, to outfit all 34 theatres with profound audio solutions to match the state-of-the-art video technology with unparalleled sound quality ACE Film and Television Equipment Co. recently outfitted WEIN Cinema, Asia's largest cinema complex, with state-of-the-art JBL by HARMAN cinema audio systems in 34 separate theatres. WEIN Cinema is the largest cinema complex in Asia, comprised of the


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state-of-the-art theatres soccupying a 20,000 square-metre area. WEIN is located within the massive Shanghai National Exhibition and Convention Center, which also contains multiple

exhibition halls, a business centre, high-end office space and hotels. With more than 5,000 seats total, the WEIN Cinema complex includes a Samsung Onyx LED screen, two IMAX theatres and several themed theatres including children's theatre, couples' theatre and VIP theatre. WEIN Cinema contracted with ACE Film and Television Equipment Co., a high-end theatre brand operated by Dadi Digital Cinema Corporation, to outfit all 34 theatres with JBL and Crown audio solutions to match the state-of-the-art video technology

• INSTALLS • with unparalleled sound quality. ACE installed a range of JBL loudspeaker systems to provide flexible solutions tailored to each individual theatre, including JBL ScreenArray loudspeakers positioned behind the screens for primary sound reproduction. JBL 3722N two-way loudspeakers from the ScreenArray line were used in most of the theatres, providing smooth and accurate sound reproduction in a compact and cost-effective format. ACE also deployed the three-way JBL 3732 model in certain situations to provide maximum output with minimal distortion and optimal coverage. Other theatres feature JBL 3252N units with dual 15" low frequency drivers and Teonexdiaphragm high-frequency drivers in a single enclosure. JBL C222 loudspeakers were used in the smallest theatres, where space limitations required an extracompact footprint. ACE installed three different JBL surround loudspeaker models throughout the complex. The costeffective and high-performing JBL 8320 serves as themain surround speaker, with a total of 148 units installed. Other theatres feature the JBL 9400/9410, which offers extended bass response and a proprietary Wave Shaping Vane for precise coverage. In theatres where space was limited, ACE selected 8"JBL 8281 speakers to providehigh power handling and sensitivity in a small package. To supplement the surround systems,

fill out the sound and provide extra bass impact, ACE deployed two different types of JBL subwoofers. The main subwoofer in most of the theatres is the JBL 4642A, which contains dual 18" woofers mounted in a vented-gap configuration for smooth response at the lowest audible frequencies. In certain theatres, ACE selected JBL 4181 subwoofers with 18" dual-coil vented cooling drivers as an alternative. Crown amplifiers were used exclusively throughout

WEIN Cinema. 137 Crown DSi Series power amplifiers, designed specifically for use with the JBL ScreenArray systems, power most of the cinema loudspeakers and provide on-board DSP. Ten Crown XLC Series amplifiers with DriveCore technology were installed in select theatres to provide a more cost-effective solution with lower power consumption without sacrificing performance. Additionally, each of WEIN Cinema's IMAX theatres features a JBL CPi2000 cinema processor unit, which provides volume control and DSP for all surround speaker channels, 1/3octave graphic EQ for precise room tuning and system fault detection with redundant outputs in case of power failures.

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World's First THX Ultimate Cinema

THX Ltd., renowned for the certification of world-class cinemas and consumer electronics, announced the world's first THX Ultimate Cinema at The Regency Westwood Village Theatre in California. The company is working closely with industry leader Cinionic, the Barco, CGS, and ALPD cinema joint venture delivering a new visual standard with enhanced services and technology solutions, to bring the THX Ultimate Cinema experience to consumers. This premium large-format (PLF) cinema offering provides a superior moviegoing experience that meets all THX Certified Cinema standards. THX Ultimate Cinema at Regency Westwood builds upon Cinionic's premium offering, integrating its


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state-of-the-art dual-Barco laser system, which delivers a 4K resolution image with increased brightness, contrast, clarity and rich brilliant colours for premium large format screens with CGS remastered content exclusively shown at this location. The Regency Westwood Village theatre, which boasts nearly 1400 seats and is home to some of Hollywood's biggest red-carpet premieres, has also undergone numerous upgrades to the sound system and acoustics. These include an increase in low-frequency power to yield a decrease in distortion and an increase in sound power, as well as the addition of curtains to improve the clarity and accuracy of the immersive multi-dimensional sound system. The design of the Village cinema complies with THX Certified

Boasting nearly 1400 seats and a home to some of Hollywood's biggest redcarpet premieres, the THX Ultimate Cinema at The Regency Westwood Village Theatre in San Francisco, California is all set to deliver a superior Premium Large Format moviegoing experience and a new visual standard with its enhanced services and technology solutions, to its consumers. The property is all the more known for integrating its state-of-theart dual-Barco laser system, which delivers a 4K resolution image with increased brightness, contrast, clarity and rich brilliant colours for premium large format screens with CGS remastered content exclusively shown at this location. Cinema standards. THX and Cinionic worked with the exhibitor, acoustical consultants, and equipment installers to create a unique design package with architectural and technical requirements to address the audio and visual fidelity to ensure a superior cinematic experience in the auditorium. "We are excited to collaborate with Cinionic to bring the THX Ultimate Cinema experience to audiences around the world, starting with Regency's Westwood Village Theatre in Los Angeles" said, Min-Liang Tan, CEO of THX. "THX and Cinionic are respected technology leaders in cinema, and we are confident that this strategic relationship will help meet the demands of exhibition and consumers to make premium entertainment experiences more attainable." "The new projection system featured in the THX Ultimate Cinema offering delivers a fantastic

• INSTALLS • image on screen," said Lyndon Golin, CEO, Regency Theatres. "We are very excited to be able to provide an enhanced cinematic experience to our studio partners for premieres and moviegoers alike." "Cinionic was founded to create a new visual standard that drives the industry forward. Our mission to deliver compelling cinema experiences for today's - and tomorrow's - moviegoers aligns with that of THX," said, Wim Buyens, CEO, Cinionic. "THX Ultimate Cinema allows us to bring Cinionic premium technology to the Regency theatre for the first time. Our goal is to help elevate the industry standard and bring premium experiences around the world to a whole new level." "Cinionic is honoured that THX chose Cinionic Giant Screen (CGS) to be the power behind their THX Ultimate Cinema; it's a compelling collaboration. CGS is providing the best Premium value in the market with industry leading Barco dual laser projectors and 30+ Hollywood titles per year supported by the best

service organization in our industry. Cinionic's approach includes unparalleled business freedom allowing each exhibitor to run their business without interference while guaranteeing a bright, big and beautiful image for the audience. THX adds their certification services, marketing and branding support to a long trusted consumer brand. The collaboration that is THX Ultimate Cinema provides a powerful alternative in the branded PLF space at a very attractive price point." says Todd Hoddick, Chief Revenue Officer, Cinionic

THX Ultimate Cinema THX Ultimate Cinema will provide exhibitors with the solution they've been looking for: a branded and differentiated PLF offering which includes best-in-class projection technology from Cinionic, as well as an immersive audio system, acoustics and auditorium specifications that meet THX Certification standards. This is also coupled with the added benefits of flexibility and favourable economics for the exhibitor.

Driven by dedicated content and strong moviegoer demand for a differentiated experience, Premium Large Format (PLF) is one of the fastest-growing and most active areas of commercial cinema exhibition, with significant potential to grow exponentially in size over the next several years. With the business environment for PLF cinema also becoming increasingly competitive and saturated amid a startling array of brands and technologies, many exhibitors have been seeking a PLF partner that offers best-in class technologies, flexible implementation options, and a strong cinema brand that resonates with consumer audiences. For over 35 years, THX has maintained a reputation as the acclaimed worldwide brand for optimizing the audio and visual fidelity of the entertainment experience in the cinema. THX and Cinionic are working with additional exhibitors around the world to bring the THX Ultimate Cinema experience to market and will announce new partners as installation plans are completed.


GDC Launches Record Number of Industry First Products – Tony Adamson, Sr. VP - Strategic Planning, GDC Technology GDC Technology continued its tradition of launching first to market solutions at CinemaCon 2019. This year, GDC launched a record number of new products and won the prestigious Catalyst Award for the fourth consecutive year for Best New Technology of CinemaCon. The new products included an expanded capability to manage up to 30 screens with its centralized cinema automation system, two 4K high frame rate (HFR) and 4K 3D nextgeneration FAST (Flexible Architecture Stable Technology) media server series and the GoGoCinema App.

Expanded Cinema Automation 2.0 (CA2.0) Capability The award-winning GDC CA2.0 incorporates the SCL Centralized Playback Server Series, an integrated centralized storage and playback system designed to streamline content management, and leverages machine intelligence to increase efficiency while dramatically reducing the need for human intervention. CA2.0 is rapidly becoming the solution of choice to replace a cinema's traditional library management system (LMS) and theatre management system (TMS). Since its launch in April at

• • • •

CinemaCon 2018, over 950 screens worldwide at over 110 locations has depended on CA2.0 to significantly streamline their cinema operation. The SCL Server Series is the world's first scalable centralized playback solution:

SCL-1000 SCL-2000 SCL-3000 SCL-4000


up to 8 screens, 9 to 14 screens, 15 to 21 screens and 22 to 30 screens

SCL Series Servers offer each auditorium access to a wide assortment of movies from a centralized server without the need of local storage attached to every media server. They are designed with scalability and reliability in mind. Their storage capacity can be customized based on the number of screens (from 4 to 30) and the number of movie titles (up to a few thousands DCPs) to be stored and streamed to all the auditoriums. In addition to automating the complex procedure of manually preparing or editing show playlists, CA2.0 incorporates other impressive advances, such as:


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Its sophisticated fail-safe design helps eliminate interruptions by ensuring that every screening continues undisturbed in the highly unlikely event of a central server failure.

GDC Technology Unleashes the Power of its SR Series Media Server with FAST (Flexible Architecture Stable Technology) for Advanced Cinematic Imagery Based on proven technology, GDC's SR-1000 was introduced at CinemaCon 2017 to rave reviews by exhibitors. This year, the product line expands to include two new media server series designed with advanced features to enhance the imagery.

Key features •

Compatibility with New DLP Cinema Projectors SR-5400 Series is capable of playing DCP content in 4K 3D and 4K@60fps and seamlessly integrates with the new DLP Cinema projectors from Barco, Christie and NEC. The SR-6400 is capable of 4K 3D and 4K@120fps, and compatible with the new Christie projector featuring ReaLaser illumination and CineLife+. CineCache Designed with diskless CineCache (built-in cache memory). Content playback can be performed without the need of local HDD storage. Supports the Playback of Thousands of Movies Takes full advantage of show scheduling with Ultra Storage technology that enables the playback of over 2,000 movies with Cinema Automation CA2.0. High Reliability Ultra-reliable with built-in embedded power electronics used in medical and military products ensuring the overall system stability.

User-friendly and Intuitive Web-based User Interface With drag-and-drop, filtering and navigating functions, operators can easily switch between tabs or pages. Also, wireless access is also enabled by using mobile devices such as a smart phone or tablet.

GDC Technology Links to the Cloud to Effortlessly Monitor Software Given the cloud has turned into an innovation powerhouse, GDC TmsAware was developed to have a significant effect on the cinema's operation. •

Receive push notifications via a secure Internet connection from the latest version of CA2.0 and TMS-2000 to the App, such as scheduled showtimes overlapping

Able to access more than one theatre's CA2.0/TMS with Internet access

Supports both iOS and Android

Created for both mobile phones and tablets

Cloud based solution powered by AWS serverless architecture for scalability, reliability and security

GDC Technology Announces Ubernization of Cinema with GoGoCinema GoGoCinema was introduced at CinemaCon 2018 to rave reviews for

its innovative technology to attract moviegoers of all ages by using an easy and convenient platform not only to book a theatre on the network, but also to select a movie of their choice listed on the platform from any handheld device or computer. This year, the GoGoCinema App was introduced. The App is modeled after home streaming platforms by offering consumers full access to the content, while letting them decide what, when and where they want to see it, but on the big screen as intended by the filmmakers. The difference is there is no paidsubscription fee. The App will be free to download and features such benefits as notifications about the upcoming movies, an app analytics tool, a social element to build a community of devoted and engaged active moviegoers and a wide variety of movie content. GoGoCinema will be launched in various cinema sites across Asia through 2019. Finally, GDC introduced an upcoming innovative and costeffective audio solution for DTS:X, its active 3D system for the Onyx LED Cinema Screen and a bespoke all-inone media server designed for cinema display technologies. GDC will showcase these products at CineEurope from June 17 to 20 in meeting room M131.

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ARCHITECTURAL NOTES: Introduction to an Affirmed Continuance Designing a cinema starts and ends keeping the customer likes and dislikes in mind. The huge online streaming giants have been battling for better numbers but this certainly holds them aback for the one reason of luxurious spacing and the royal experience that only cinemas could still offer their patrons. With Eranna Yekbote, the founder of Era Architects giving us an enthusiastic kick start on the initiative, TheatreWorld now brings a new column for its readers that could help build, generate and visualize greater ideas in the world of Cinema Architectural Designing. 'Entertainment, Entertainment, Entertainment!' goes a famous dialogue from Bollywood cinema, and this is what Eranna Yekbote, the Founder of Era Architects, says about multiplex design."Entertainment is the only word that comes to my mind when I think of cinema, and design for cinema. Multiplexes should have an entertaining design." Eranna entered the world of cinema design by designing a popcorn counter at a popular cinema house. "When I started on my own in 1999, I worked alone from home." From a one-person team, Era Architects,

a leading name in cinema designs, has grown to a team of over 30 people across two offices in Mumbai, and Dubai. "My first theatre project was to renovate a single screen cinema. While this project did not take off, I met a senior acoustical consultant, Mr. Jal P Mistry, on this project. I began collaborating with him, and with the help of his network, I acquitted a project to renovate a single screen theatre in Vile Parle, Mumbai. This project was designed and completed in less than three weeks. When I saw the cinema-goers come in and experience the new space, it felt so

good. This is why I love designing public spaces; I like spaces where a large number of people can come together to experience the space." The project that placed Era Architects on the map of theatre design, was Fame Adlabs, Mumbai's second multiplex. "Designing our first Fame Adlabs multiplex gave me the confidence and much needed impetus to continue designing theatres."Beginning from designing a multiplex in Mumbai, Era Architects has grown to become an international practice that has designed over 1400 screens in more than 32 countries across the world. Be it converting a hypermarket into a cinema theatre or an existing food court or a shopping mall into a multiplex, Era Architects has designed it all. In addition to theatres, Era Architects designs other public buildings such as hotels, luxury resorts, shopping malls as well as retail shops. The largest project that Era Architects has worked on is an ongoing project in UAE that has 20 screens. Era Architects has designed screens in all formats including screens in Premium Large Format (PLF) such as


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• BUSINESS TREND • IMAX. Era Architects has designed over a dozen PLF screens; PLF screens stretch from floor to ceiling and wall to wall. Era Architects has also designed special VIP screens with dine-in options, kids' screens where one could have a party and schedule a movie screening as and when they like. Era Architects has also designed special screens in theme parks as well as MX4D screens with environmental effects such as seat motion, smoke, vibration etc. While designing a theatre one may face challenges such as budget limitations and space constraints. Hence, Eranna says that an important thing that determines what you can achieve in your theatre design is the point in time when you enter the project. "If you are involved right from the initial stages, you can plan the height of the cinema, and all the spaces around. You are able to get the right proportions required for the best cinematic experience." Some of the key success factors for unique designs when it comes to theatres are location, the proportion of height to space, and approach and access to the screens including escalators and elevators. "Whether your cinema-goer is an actor or a politician or a taxi driver, when they enter the theatre, they should be able to easily understand the flow of the space. They should instinctively know how to get in, walk around, find their screen, and get out", says Eranna. The design of the lobby is one of the most important elements in cinema design. "We plan every aspect of lobby design. We think about how the lobby looks throughout the day, how the marketing signages must be placed, whether the lobby should have natural lighting or have a dark atmosphere. We plan where and how to place the vertical posters, and the horizontal trailers."Lighting and acoustics are crucial in theatre design.

byelaws. Eranna says that at some places the contracts are governed by the laws set by the local government. While this is the easy part, the more challenging part can be acquiring material in remote places. "Sometimes, contracts are easy but the getting labour and material to the site is a huge challenge. In countries, where there is no common language of communication, communication can be a big challenge to overcome. Therefore, clear sketches and drawings become very important." While designing a theatre in Bulgaria, in Eastern Europe, the design team at Era Architects had to depend on interpreters to communicate the ideas and designs, and to understand the feedback received. "Our entire team understands cinema, technology, and software programs. As architects, we need to communicate our design. We have been using VR (virtual reality) tools to explain our ideas to the clients. VR helps our client visualize the project in 360 degrees." Era Architects has designed screens across many countries in different parts of the world. A key difference in theatre designs in India and other counties is accessibility for disabled people, says Eranna. In most countries, special attention is paid to the accessibility for all, especially for disabled people. Designing toilets for

theatres is another challenge as toilets in public spaces such as theatres have to be designed differently from residential spaces or other public spaces. "In a cinema theatre, all equipment must be touch free, and the design should allow for a fast turnaround of users." Going ahead, Eranna sees technology as the biggest driver of design. Technology is driving architectural design. "When we started designing theatres 20 years ago, we had to design large projector rooms as getting the film reels and shutting them between screens was a big task. Today, projectors and projector rooms are smaller. Ticketing is another area that has seen changes in design. Earlier, ticket lobbies were larger as people needed to stand in a queue to book tickets. Now, many people book tickets online or buy tickets on their phone, and hence, ticketing lobbies can be smaller. The seating capacities of screens have reduced as well because people like to sit comfortably in spacious seats. One needs good leg space too. No one would like to sit in tight crammed spaces."Another important aspect to keep in mind when it comes to theatre design, says Eranna, is to design in a way that the look and feel can be updated every few years. Eranna adds that the demand for small retail cinema screens will rise in the future.

An international practice brings with it several challenges as well as opportunities as each country has its own character, culture, and building

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27-28 August 2019 Bombay Exhibition Center, Mumbai, India Fourth Edition of Big Cine Expo, Being Held on 27-28 August 2019 in Mumbai, India, is the Only Convention and Trade Show for the Single-Screen, Multiplex, Malls and Theatrical Distribution Industry in Asia and India.

Big Cine Expo is all set to roll out its 4th edition of its international tradeshow and convention in its new location at the Bombay Exhibition Center in Mumbai, India. This extremely unique and exclusive event promises to be yet another interactive platform that will add value to the single-screen cinemas, multiplex cinemas, B2B stakeholders of cinema and entertainment once again. It is the only cinema exhibition convention and trade show specifically for the burgeoning cinema exhibition market in Asia and India. The world's second largest international tradeshow and convention provides a platform for discovery, collaboration and networking for cinema exhibition industry in India. The 2-day event consists of various product displays, product demos, product presentations, studio presentations, seminars, panel discussions, awards program, special events, film screenings, networking, B-2-B meetings, a trade show, and more.

WHY INDIA? India is one of the world's fastest emerging economies, with the entertainment sector playing an assertive role. And Mumbai is highly


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renowned as the most-happening entertainment, financial, and commercial hubs in India. The Indian cinema industry is second only to Hollywood in size, with South India being the top market with the highest number of cinema screens and movie releases. In 2018, India produced over 1,300 movies, the highest number in the world. Due to the fast growth of the India Cinema Exhibition market, there is a huge appetite for technical knowhow and equipment. Having the Bombay Exhibition Center's Hall 4 donning Mumbai's tallest and largest pillar-less hall with 14m at its highest point, Big Cine Expo is all geared up with yet another big year of a thriving environment for the

exhibitors and limitless networking. It offers the opportunity for manufacturers and suppliers from the North American, European, and Asian continents to exhibit their products and services as well as to share their industrial knowledge.

VISITOR PROFILE Cinema Theatre Owners, Top Theatre Management, Theatre Managers, Theatre Technicians, Architects, Cinema Interior Designers, Projectionists, Sound Specialists, Acoustical Consultants, Theatre Consultants, AV In-stallers, Cinema Consultants, Mall Operators, Top Studio Operators, and Cinema Theatre Contractors.

EVENT CALENDER “Domestic as well as international entities unite together, socialize and share their thoughts. I really look forward to attend the event and witness some great work and innovative concepts. Such initiatives are really helpful for entrepreneurs in the cinema industry and ancillary businesses”. – Subhash Ghai, Filmmaker EXHIBITOR PROFILE Screens, 3D Systems, 3D Glasses, 4D Systems, Digital Cinema, E-Cinema, Projectors, Speakers, Security Systems, Amplifiers, Processors, Servers, Seating, Lighting, Signage, TMS, Acoustics, Carpet, Concessions, In-Theatre Dining, Box Office, Lamps, Architecture, Amusement, Gaming, Immersive Seating, Ticketing, Kiosks, Mobile Payment, Cables, Popcorn, Merchandise, HVAC, Real Estate, Interior Designing, Automation, andFranchising.










“Big Cine Expo provides a platform for discovery, collaboration and networking for cinema exhibition industry in India. It powers the disruptors, innovators and integrators by bringing them together ceremoniously every year. It is a must attend convention, and we’re proud to continue our partnership with them.” – Kamal Gianchandani, Chief of Strategy, PVR Ltd.



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17-20 June 2019 Barcelona, Spain

CineEurope is the longest running and the most successful European convention and trade show for major, regional, and independent cinema exhibitors. The 28th Edition of CineEurope promises to bring you another year with the very best in exclusive studio screenings and product presentations, cinematic technologies and innovations and educational seminars to keep your business on top of industry trends. Produced by The Film Expo Group, CineEurope is the official convention of the International Union of Cinemas (UNIC), an international trade association representing cinema exhibitors and their national associations across 37 European territories whose focus is to better promote the social, cultural and economic value of cinemas in Europe and internationally.

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. If you want to remain competitive and keep your audience coming back to your theatre, CineEurope is a must visit!

Visitor Profile •

Cinema Owners/Operators

Cinema Managers

Cinema Marketing Executives

Cinema Operations Executives


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Beer/Wine/Spirits/Alternative Drinks

Booth/Projection Equipment



Digital Camera Equipment

Financial Services

Hearing Devices

Immersive Seating

Immersive Sound Systems

Interior Design

Janitorial Supplies




Lobby Displays

Mobile Merchandise

Promotional Companies

Real Estate




Exhibitor Profile

Social Networking



Alternative Content Programs

Special Services


Ticketing/POS Solutions



Walls/Acoustic Panels

Concessions Purchasers

Film Buyers/Bookers

Film Distributors

Film Producers & Filmmakers

Hollywood, European and Independent Studios

• Theatre owners and operators, and those allied to the industry, come to CineEurope each year to seek knowledge on the latest trends and issues; learn about new marketing ideas; network with industry peers; see Hollywood, international, and independent

Marketing/Media Professionals


1-4 April 2019 Caesars Palace, Las Vegas, USA Since taking its first step in 2011, CinemaCon has evolved and grown to become the largest and most important gathering for the worldwide motion picture theatre industry. CinemaCon is truly a global event attracting attendees from more than 80 countries. One of the Largest Cinema Trade Shows in the World From exclusive Hollywood product presentations debuting a slate of upcoming films, to must-see premiere feature screenings, to the biggest stars, producers and directors, CinemaCon, the Official Convention of The National Association of Theatre Owners (NATO), jumpstarted the excitement and buzz that surrounds the summer season (and beyond) at the box office. The CinemaCon is featured the largest cinema trade show in the world. It attracted all facets of the international motion picture theatre industry-exhibition, distribution, marketing, publicity and advertising, internet and social media and of course, the theatre equipment and concessions manufacturers and

dealers who will showcase the latest technological advances and innovative concession offerings at the trade show, which is run in association with partners at ICTA and NAC.

venue that proudly allows CinemaCon to showcase all studio screenings and presentations in the ultimate theatre setting.

For the ninth consecutive year, Caesars Palace was the home of CinemaCon. As one of Las Vegas' leading casino hotels, the upscale surroundings of Caesars Palace offered CinemaCon delegates the very best with its beautiful conference centre, the finest hotel accommodations, world class restaurants, and the magnificent Colosseum, the state-of-the-art

• Don't Turn a Blind Eye on Local Content and Productions


A special introductory presentation Moderated by: Nancy Tartaglione, International Editor,; Panelists: Glen Basner, Founder, FilmNation Entertainment ; Miguel Mier, COO, Cinepolis; Paul

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Presburger, CEO, Pantelion Films; Ray Strache, EVP, Global Acquisitions & Co-Productions, 20th Century Fox / Fox Searchlight

Highlighting Its 2019 Release Schedule; Hosted by: Alan Horn, Chairman, The Walt Disney Studios • Icta Seminar: The Future Of Solar And Energy Solutions For Cinemas - How We Flipped The Switch At Mary Pickford Is D'place

• The Times They Are (Rapidly) a Changin' - Don't Get Lost in the Shuffle Moderated by: Anne Fitzgerald, Chief Legal Officer & EVP, Real Estate, Cineplex Entertainment; Panelists: Irving Chee, General Manager, Golden Screen Cinemas; Cameron Mitchell, CEO, Vox Cinemas; Alejandro Ramírez Magaña, Director General, Cinépolis; Tim Richards, Founder & CEO, VUE International; Jérôme Seydoux, Chairman & CEO, Les Cinémas Pathé Gaumont • How will Automation / Artificial Intelligence impact the movie industry? Moderated by: Jason Guerrasio, Senior Entertainment Reporter, Business Insider; Panelists: Yves Bergquist, Co-Founder & CEO, Corto; Paul Heth, Chairman, Karo Cinemas; Will Palmer, Chief Executive, Movio; Marine Suttle, Chief Product Officer, Webedia Movies Pro • A Powerful Audience Growth Strategy: Culturally Diverse Movies And Content Moderated by: Rolando Rodriguez, Chairman, President & CEO, Marcus Theatres; Panelists: Nikkole DensonRandolph, VP, Content Strategy and Inclusive Programming, AMC Theatres; Moctesuma


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Moderated by: Damon Rubio, President, D'Place Entertainment. Panelists: David Corkill, CEO, Cinema West; Ron Harris, CEO, Aeterna Energy; Art Justice, VP, Energy & Sustainability, Cinemark Theatres; Michael Tumanjan, Tumanjan Development

Esparza, Founder, Maya Cinemas; Glenn Morten, Co-Founder, myCinema; Niyati Nagarsheth, VP, Sales & Distribution, Eros International USA • An Exclusive Presentation By Warner Bros. Hosted by: Toby Emmerich, Chairman, Warner Bros. Pictures Group; Ron Sanders, President, Worldwide Theatrical Distribution and Home Entertainment; Jeff Goldstein, President, Domestic Distribution, Warner Bros. Pictures • An Exclusive Screening By Warner Bros. Pictures Of "Blinded By The Light" • A Special Presentation By Universal Pictures Featured Footage From Its Upcoming Slate • A Special Presentation By Walt Disney Studios Motion Pictures

• Nac Seminar - How Is The Evolving Conventional Concession Menu Affecting The Overall Profitability Of The Cinema? Presented by: Radesh Palakurthi, Ph.D., MBA; Professor and Dean, I.H.G. Chair of Excellence, The Kemmons Wilson School of Hospitality and Resort Management, University of Memphis • The Ever-Changing World Of Filmmaking Today, Tomorrow And Beyond" Moderated by: Elvis Mitchell, Film Critic and Curator, Los Angeles County Museum of Art Filmmakers: Elizabeth Banks, "Charlie's Angels"; Dexter Fletcher, "Rocketman"; Anthony and Joe Russo, "Avengers: Endgame"; Olivia Wilde, "Booksmart"

2019 BIG SCREEN ACHIEVEMENT AWARDS Male Star of Tomorrow - Henry Golding Female Stars of Tomorrow Kaitlyn Dever and Beanie Feldstein

CinemaCon Ensemble Award: The Cast of "Terminator: Dark Fate" Linda Hamilton, Natalia Reyes, Mackenzie Davis and Gabriel Luna

CinemaCon Passepartout Award - Helen Moss, SVP, International Distribution, Paramount Pictures

Cinema Icon Award - Steve Buscemi

International Filmmaker of the Year - Graham King, Producer, "Bohemian Rhapsody"

Directors of the Year - Anthony and Joe Russo

Comedy Stars of the Year - Seth Rogen and CharlizeTheron

International Star of the Year Kevin Hart

CinemaCon Vanguard Award - Jamie Lee Curtis

Breakthrough Director of the Year Award - Olivia Wilde

Award Presentations

Action Star of the Year - David Harbour

Career Achievement in Exhibition Award - Jérôme Seydoux, Chairman & CEO, Les Cinémas Pathé Gaumont

CinemaCon Spotlight Award Octavia Spencer

Comscore International Boxoffice Achievement Award The Walt Disney Studios Emerging Market Spotlight Award - Nigeria; Accepted by Kene Okwuosa - CEO, Filmhouse Cinemas and Moses Babatope - Managing Director, FilmOne Distribution; Secretary, Cinema Exhibitors Association of Nigeria (CEAN)


Arts Alliance Media




ERA Architects

GDC Technology

Harkness Screens



Nexgen Fabrics



Qube Cinema


VIP Seating

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Review Your Existing Single-Screen Cinemas & Monetise Vis-a’-Vis New Multiplex Presented by: Ar. Hema Seetharam, Calicut Ar. Amita Gore - PGAG Architects, Mumbai

Overview: Few years back there were approximately 12000 single-screen cinemas across India, which is now down to 8000. Single-screen theatres have become unviable due to very low occupancy and huge running costs. They are also not able to compete with the new multiplexes, despite having huge advantages of having large space available and the legacy of an old brand. This presentation discussion looked at ways to monetise the existing singlescreens by renovating or converting these into smaller multi-screen theatres within the existing shell. Conversion of an existing large single-screen to multi-screen is more cost effective compared to having put up a totally new theatre. Talking about the conversion of the single-screens into multiple screen theatres within the existing shell, Ar. Hema Seetharam specifically states about such projects which have been already worked upon in Calicut, Kerala which is a Tier 2 city. Having looked upon the current scenario of the screens, India has the


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lowest number of screens per million population; when compared to that of China and the US. And even out of the 9530 screens which are there in India, about 71 per cent are singlescreen theatres. With an overview on the single-screens, one of the major problems faced by them is low occupancy. This low occupancy is so evident, that in some theatres in Calicut of about a thousand seats, the shows have been run with just 15-20 people. This leads to huge running costs, basically because of the infrastructure, AC and personal electricity costs etc. that leads to

substantial low income. The low income again leads to poor maintenance: bad seats and outdated ambience. This in turn affects the audience again turning into a cycle which makes the singlescreen theatres financially nonviable.

A Calculative Progress Now, if one takes the comparison between the single-screen and the multiplexes, one of the main advantages that the multiplexes have is that they can encash on the

multiple simultaneous releases; which is an advantage missed by the singlescreens. Besides that, the high paying customers are drawn to the multiplexes only for better ambience and the better services provided. Now all these boil down to what solution could be figured out for the single-screens. Single-screens are either shut down or converted to non-theatre uses like godowns and warehouses. The option beyond this is to convert the single-screen into multiple screens within the existing shell. Hema also illustrates with a couple of examples on the projects worked like the Crown Theatre and the Regal Cinemas in Calicut. Theatres thus get spacious, and because of the central alignment of the screen, the speakers and the seating with the correct tilt of the seat, the viewing pleasure is the same as that of the single-screen. And this is one of the biggest advantages of the conversion within the shell. And since the conversion is going to add to the number of screens, there will be a variety in terms of the screens, the sound systems used and also in terms of the projection systems installed as well. Coming to the time and cost factor involved while retaining the shell of the structure, for an internal change within the existing shell, the corporations and the municipalities provide permits more easily than when it is completely a new structure to be put up. The work completion is very fast.

Factorial Differentiation Ar. Amita Gore continues the presentational discussion by introducing a few more factors which are very much important when one actually differentiates the cinema and derives a perfect solution for each single screen. The single-screen conversion is generally based on three pillars that is the complete entertainment definition as per the Indians to watch movies, to play and watch different games and shopping and definitely to eat a variety of food. So these three pillars, coupled

up together can give perfect solution for a single screen conversion. Speaking of the conversion of the single screen, there are again three important factors which shall govern the design criteria where the screen is located. The second important factor being the self-sustainability of the screen or if it does need any supporting formats like gamezones, retail stores for the revenue generation. And the third most important factor is the spending capacity of the patrons who are being catered, the style of their lifestyles, habits of their spending. All these factors when studied and differentiated, derives a different kind of format for each and every location in India. So in type 1, she illustrates on how one can retain anold cinema by adding new seats and sound systems and the rest of the area that could be utilised for a retail store. The retail store formats can be differently used for co-working offices, furniture experience centres and many more. Type 2 format is a totally new format which is a totally futuristic thought behind the conversion of the single-screen. Many at times, it can be found that the single-screens are located right in the area where the locality around the single-screen is filled with the patrons who are ready to pay for the ticket of around 300400 if the facility is provided and that kind of ambience is given. So this format thus is a dine-in cinema, a totally new format in India, seen in one or two multiplexes in India currently. So the dine-in cinema and the kids special cinema; along with the party hall, along with the game zone and the food court could be a perfect party destination where the single-screens would serve to the patrons who are ready to actually spend for that kind of ambience. And in fact there is a requirement in that particular location for that sort of a format where they feel that they want to watch a live sport with their family and friends together. So the dine-in cinema can possibly act like a theatre where in one could watch

their live sports. In other days, old movies or the normal movies can also be played as a part of the dine-in cinema. Here one could see the representation of type 3 and type 4 formats. Type 3 as already illustrated, the location of the cinema is considered vital. So when the location of the single-screen is centrally located in the tier 2 or tier 3 cities or maybe in the sub-urban area of a metro city, this format would serve to be a perfect solution to convert a single-screen into two screens actually catering to the crowd of a multiplex. Being two screens, in one of the screen can have a regular seating and other screen can serve to the class which are ready to spend on the higher side of the ticket; which could be the gold class. Therefore, the gold class can be provided with a gold class lounge, some fine dining restaurants, food courts, game zones, indoor games etc. VR stations and stimulators can also be a part of such formats wherein people could be ready to spend but the amenities would not be available to them in the nearby locality and they actually would need to travel from their residential place to a multiplex that could be a one hour distance to find such a format. Thus this turns into a entire different format when converted to one single-screen and another screen into gold class. Amita also points out type 4 format being a cinema and an auditorium convertible format which deals with a totally different thought behind it. It can be found in one or two places in India wherein the exhibitors actually convert the single-screen by installing dual speaker systems into an auditorium. In many states in India the drama certainly plays an integral part of the entertainment as well. So in many places where the dramas are played, there is no availability of auditoriums nearby. People need to travel all the way of around two hours from their residences to watch a drama. In addition to this,the single-screens in such locations could get converted

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to a drama theatre and also be used for the reviewing of the cinemas. This format could also be rented to the educational institutes, colleges for their annual functions.

Takeaway Having detailed information on the various formats possible for the

conversion of a single-screen,one must also mind well that each and every single-screen owner might not be in a position to spend a huge number on the conversion. The renovation has always been yet another solution and has always been in trends for such formats. With regards to the renovation, it can be done on a very swift note as it

would require very less permissions. Offering comfy seats similar to a multiplex with good sightlines and plush ambience and considering the fact that it could be considerably budget friendly, the movie-watching experience could be directly taken to a whole new level giving patrons the similar feel like those of the nearby multiplexes.

SMPTE Standards for Digital Cinema Presented by: Ujwal N. Nirgudkar - Member - Oscar Academy & Chairman - SMPTE-India Section


All About the Standards

Society of Motion Picture and Television Engineers (SMPTE), the world's leading developer of motionimaging standards has announced various digital cinema standards designed to standardize workflows and ensure a consistent moviegoing experience. The conversion of theatres to digital infrastructures grows globally today. This presentation throws light on the SMPTE digital cinema standards.

As known, SMPTE - Society of Motion Picture and Television Engineers is a worldwide organization, which has been setting standards for the film, digital, television and audio for many years now. Ujwal N. Nirgudkar briefs of the insights of the same. Talking about the history, in the early 1900's, the soon-to-be motion picture industry was unorganised, lacking structure and leadership. Equipment was built differently according to each manufacturer, and standard practice was non-existent.


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At the same time, a world war threat has been doing the rounds and the army saw a need for motion pictures with regards to training and recording military events. The U.S government attempted to bring order to this demanded industry by creating a body to lead development in motion pictures. The government looked upto an inventor from Washington D.C named C.F. Jenkins to chair the organization. Jerkins had developed the first motion picture projector in 1895 along with Thomas Armat, as well as several unique

imaging devices, such as an underwater camera, and a panoramic camera for aerial views. After two unsuccessful attempts at starting this organization, Jenkins met with two of his close colleagues to discuss a solution. Jenkins, E.K. Gillett, and N.I. Brown gathered on the Boardwalk of Atlantic City one day during the spring of 1915. One year later, in July 1916, the three men along with seven additional engineers met in Washington D.C. A unanimous decision was made to create a society of engineering specialists in the motion picture field. A constitution was then created, and Jenkins was named chairman of the Society of Motion Picture Engineers (SMPTE). In October of 1916, the group ratified the constitution, established committees, and elected Jenkins as president. Thus the "'T" was added to the Society in 1950 to embrace the emerging Television industry. The first incorporation certificate of SMPTE was on 24th July 1916, this institution was started. This was one of the only institution in the world currently which sets standard for Films, Digital, Audio and Television. SMPTE is an accredited standards body accredited by ANSI, ISO etc. SMPTE develops standards for Motion Pictures, Digital Cinema, and Television The Application areas include Acquisition, Contribution, Postproduction, Distribution, Station operations, Theatre operations and D-cinema packaging. Any project that meets established criteria will be accepted by SMPTE for standardization. Other activities like, taking part in many of the conferences, Joint programmes with NAB (Las Vegas), IBC (Amsterdam), ASC in Hollywood are also dealt with as well. So these are the places where there are usually lectures and the information is shared about the new standards being developed. Local sessions around the world are also conducted with the SMPTE India section also being a part of it.

SMPTE Honors and Awards: Every year at the annual international conference theawards that are given by the SMPTE President are: The SMPTE Progress Medal Award, The Eastman Kodak Gold Medal Award, The Technicolor Gold Medal Award, The David Sarnoff medal Award, The Samuel L. Warner Memorial Medal Award. The Fellowships awarded is for the outstanding contribution in Motion Picture, Television or related Industries. SMPTE gives information about programmes and conferences, the standards followed, Local Sections activities, Membership requirements, publish Motion Imaging Journal carrying articles about all the technical information, the latest developments in Standards and also in the latest development in the technology around the world. All the journals are available from 1916 to the present which is accessible on the website once a member of SMPTE. The SMPTE completed 100 years of the organization in the year 2016. So a special logo was developed with regards to this occasion having James Cameron as their chief guest who was also given a special award for his technical contribution to the motion picture world. SMPTE also promotes memberships and standards. We also conduct webinars Talking of these standards are developed, Ujwal states that SMPTE is the noodle organisation for developing the standards. There are various other organisations that give their inputs to the SMPTE including DCI - the digital cinema initiatives which were started by 5 big studios in Hollywood. Once all these institutions give their inputs to SMPTE, finally SMPTE develops a standard which is used world-wide and it interacts with ISO to develop these standards. Now when SMPTE standards are developed, there are three typical representations in the standards committee. One is the user which represent the people who are going to use that technology, the second

being the manufacturers and the last being the observers who could be the consultants or any other person from the industry who could give the inputs. So whenever any new standard for a particular technology is developed, it is always with the consent of user, observer and the manufacture. And SMPTE is being a neutral organization, does not promote any particular company's products.

Takeaway: Currently, SMPTE is in the process of developing standards for digital cinema; basically with regards to production, Post-production, Packaging, security management, projection, exhibition and other technologies. 48 different standards are made for digital cinema for production, post production, packaging, security management, projection, exhibition and reference. Some of which are ready though considering the fact that it takes a lot of time to develop these standards. Typically, it could take anywhere between 5 to 8 years to develop a particular standard asa consultation would have to be taken from so many members in the industry to develop a particular standard. As the history is well known of, the standard for 35mm film, took a hard couple of years to develop that standard. And digital started later in 2008. Therefore, the committee is already on for various digital standards. And since 2008, more than 10 standards have already been developed. Totally 40 different standards are in the making so as to say and some standards are still under the making. And we have this standards committee, meetings every quarter at different locations in the world. Plans of a meeting in India in 2019 are to be looked out for so that the Indian technical community from films, digital and television industry could definitely take part in how to make these standards and whether as a user, what information would one want or how one would want these standards to be made particularly for the Indian market. June-August 2019




A glimpse of movies coming soon… I Am Mother

The Dead Don't Die Production Studio Canal

Production Focus Features

Director Grant Sputore

Director Jim Jarmusch

Starring Hilary Swank, Clara Rugaard

Starring Steve Buscemi Genre Comedy, Horror

Genre Thriller, Sci-Fi

Men In Black International

The Last Black Man in San Francisco

Production Columbia Pictures

Production A24

Director F. Gary Gray

Director Joe Talbot

Starring Chris Hemsworth, Tessa Thompson

Starring Jimmie Fails, Jonathan Majors

Genre Comedy, Action

Genre Drama


Child's Play Production New Line Cinema

Production MGM

Director Tim Story

Director Lars Klevberg

Starring Samuel L. Jackson

Starring Aubrey Plaza, Brian Tyree Henry

Genre Action, Crime

Genre Horror

June-August 2019


F U T U R E Ophelia

R E L E A S E S Crawl

Production IFC Films

Production Paramount Pictures

Director Claire Mc Carthy

Director Alexandre Aja

Starring Daisy Ridley, Naomi Watts

Starring Kaya Scodelario Genre Thriller, Horror

Genre Drama


21 Bridges Production Universal Pictures

Production STX Films

Director Danny Boyle

Director Brian Kirk

Starring Lily James, Kate Mc Kinnon

Starring Chadwick Boseman, J. K. Simmons

Genre Comedy

Genre Action, Crime


The Farewell Production A24

Production A24

Director Ari Aster

Director Lulu Wang

Starring Jack Reynor, Florence Pugh

Starring Nora 'Awkwafina' Lum, Tzi Ma

Genre Horr

Genre Drama

Spider-Man: Far From Home


June-August 2019

Summer Night

Production Columbia Pictures

Production Samuel Goldwyn

Director Jon Watts

Director Joseph Cross

Starring Tom Holland, Jake Gyllenhaal

Starring Analeigh Tipton, Bill Milner

Genre Action, Adventure

Genre Comedy, Romance


R E L E A S E S Scary Stories to Tell in the Dark

The Lion King Production Walt Disney Pictures

Production CBS Films Director André Øvredal

Director Jon Favreau

Starring Zoe Colletti, Austin Abrams

Starring Donald Glover, James Earl Jones

Genre Thriller, Horror

Genre Adventure, Family

Once Upon a Time in Hollywood

Dora and the Lost City of Gold

Production Columbia Pictures

Production Paramount Pictures

Director Quentin Tarantino

Director James Bobin

Starring Leonardo DiCaprio, Brad Pitt

Starring Isabela Moner, Eugenio Derbez

Genre Drama, Biography

Genre Family

Fast & Furious Presents: Hobbs & Shaw

The Informer

Production Universal Pictures

Production Aviron Pictures

Director David Leitch

Director Andrea di Stefano

Starring Dwayne Johnson, Jason Statham

Starring Joel Kinnaman, Rosamund Pike

Genre Action

Genre Thriller, Crime

The Art of Racing in the Rain

Where'd You Go, Bernadette

Production 20th Century Fox

Production Annapurna Pictures

Director Simon Curtis

Director Richard Linklater

Starring Milo Ventimiglia, Amanda Seyfried

Starring Cate Blanchett, Billy Crudup

Genre Drama

Genre Drama, Comedy

June-August 2019


F U T U R E Good Boys

R E L E A S E S Kabir Singh

Production Universal Pictures

Production T-Series

Director Gene Stupnitsky, Lee Eisenberg

Director Sandeep Reddy Vanga

Starring Jacob Tremblay

Starring Shahid Kapoor, Kiara Advani

Genre Comedy

Angel Has Fallen

Production Phantom Films

Director Ric Roman Waugh

Director Vikas Bahl

Starring Gerard Butler, Piper Perabo

Starring Hrithik Roshan, Mrunal Thakur

Genre Action, Adventure

Genre Biographical

Pal Pal Dil Ke Paas Production T-Series

Production Sunny Sounds

Director Ali Abbas Zafar

Director Sunny Deol

Starring Salman Khan, Katrina Kaif

Starring Karan Deol, Sunny Deol

Genre Drama

Genre Romance

The Extraordinary Journey of the Fakir

June-August 2019

Super 30

Production Millennium Films



Genre Action


Production Brio Films

Production UV Creations

Director Ken Scott

Director Sujeeth

Starring Dhanush, Berenice Bejo

Starring Prabhas, Shraddha Kapoor

Genre Comedy, Drama

Genre Action, Drama

Profile for Network208

TheatreWorld ::: June - August 2019  

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

TheatreWorld ::: June - August 2019  

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